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£, ELOCUTION 

I ITS FIRST PRINCIPLES 



BY 

W. H. BREARE 

EDITOR " HARROGATE HERALD " 

AUTHOR OF "VOCALISM : ITS STRUCTURE AND CULTURE FROM AN ENGLISH 
STANDPOINT," "VOCM. FAULTS AND THEIR REMEDIFS," ETC. 



\ 



G. P. PUTNAM'S SONS 

NEW YORK AND LONDON 

Cbe Usntckerbocfcer press 
1905 



1 



ELOCUTION 

ITS FIRST PRINCIPLES 



BY 



W. H. BREARE 

\, 

EDITOR " HARROGATE HERALD " 

AUTHOR OF "VOCALISM : ITS STRUCTURE AND CULTURE FROM AN ENGLISH 
STANDPOINT," " VOCAL FAULTS AND THEIR REMEDIES," ETC. 



G. P. PUTNAM'S SONS 

NEW YORK AND LONDON 

Gbe "Knickerbocker jpress 
1905 



-flty* 






LIBRARY of CONGRESS 
Two Ooples Received 

DEC 5 1905 

CoDyrtffht Entry 

CLASS <X xXc. No, 

COPY B. 



Copyright, 1905 

BY 

W. H. BREARE 



Ube Untchetbocfeer press, Hew Work 



ELOCUTION 



GENERAL PRINCIPLES 



BREATH 

'"THE allied arts of speech and song have a 
* common foundation in right breathing. 
This involves effortless taking of breath, hold- 
ing it with composure, releasing it freely, but 
economically. Upon the breath depends se- 
curity of tone. The lungs contain the store of 
wind which is governed by the muscles of the 
chest. Here we seek to locate our control. 
The chest is the fundamental seat of leverage 
— not the throat. There is a saying in Italy 
that "an Italian has no throat." By this is 
meant that he does not set or compress or in- 
terfere with that portion of his anatomy in 
seeking to govern his voice. The muscles of 
the throat will act automatically without 
thought or interference on the part of the 



2 Breath 

speaker or singer, if they are permitted to do 
so. Many muscles, besides those of the 
chest, contribute to vocal control; but as to 
the action of those of the throat, the speaker 
should remain unconscious, otherwise he will 
betray his throat in the quality of his tone. 
Let the student, then, concentrate attention 
upon the chest and forget his throat. He 
should feel that the current of breath is 
pressed from the lungs through the open tube 
of his throat upon that part of his sound 
cavity (the mouth) at which the vowel renders 
it necessary he should locate, as it were, the 
sustained portion of the voice. The speaker 
should feel that the impact of sound is directed 
to the part of the resonant cavity which gives 
the particular characteristics essential to per- 
fect pronunciation. In other words, he should 
locate, as it were, the column of vibrating 
breath we know as sound. The lips, with ad- 
vantage, may be considered to govern in a 
minor degree the power and efficacy of the 
breath, and, to a more complete extent, in 
conjunction with the tongue, the emotional 
character of tone and efficiency of both pro- 
nunciation and enunciation. Let the mind, 
therefore, concentrate upon the chest, mouth, 
and lips in seeking the purest vocal results; 



Breath 3 

there will then be little fear of "throaty" 
tones and cramped delivery. Under the 
head of "Attack" I deal with a matter con- 
trolled by unconscious action of one of the 
organs of the throat; but as this takes place 
automatically, I merely mention what is re- 
quired to achieve the operation without going 
into details, which would result in confusing 
distractions. All that the pupil need be told 
is the simplest method of producing an effect ; 
he need not be plunged into the whirlpool of 
physiological speculation. A man may eat 
his dinner any time without feeling compelled 
to understand the operations of his digestive 
organs. 

In speaking, every portion of the body 
should be free and unrestrained. The 
lower part of the chest ought particularly to 
be under easy, but firm, control. The throat, 
jaws, lips, and tongue must be so restful as to 
become free of all feeling of tension, and be 
able to respond promptly, flexibly, and sym- 
pathetically to the will. Any hard compres- 
sion or straining of these organs will weaken 
the natural functions of the lungs and chest 
by transferring the fulcrum of control to the 
wrong point. Whatever we may then at- 
tempt will prove unnatural, increasing and 



4 Breath 

rendering futile all our efforts. Natural ex- 
pression cannot come out of unnatural re- 
pression. That which is unnatural is forced, 
and cannot by any expedient be made to 
sound or appear spontaneous. Mechanical 
semblance may pass muster for real feeling, 
but it is not felt even by the apparently de- 
luded audience. The artifice becomes too 
transparent. Hence, if we would appear 
natural, we must feel natural; and no one 
can do this if he is fighting in any way against 
the physical spontaneity which is the source 
of involuntary action. Emotional feeling is 
natural and spontaneous. When fettered by 
too much mechanical preparation and elabora- 
tion, it does not ring truly, because the im- 
pulse which prompts the emotion is checked 
by self -consciousness, induced by these un- 
sympathetic, extraneous influences. Both in 
singing and speaking, however, technical ex- 
pedients must be employed to give effect to 
natural impulses. This machinery, however, 
should not be too elaborate, but its operation 
so practised as to become a matter of in- 
stinct. Pianoforte playing ceases to be a 
mechanical effort when the hands obey the 
dictates of the mind, without thought of the 
technical processes involved. A pianist ac- 



Breath 5 

quires a singing touch by digital practice, un- 
concerned with the anatomy of his hand. 
Thus it should be with the vocalist. To the 
student I would say, "Take a deep breath — 
through the partially-open mouth, for a quick 
breath; through the nostrils, when time and 
circumstances permit — hold it ! Now let it go 
out slowly, steadily, with an even pressure 
upon the vowel sound of the first word or 
syllable. Keep a commanding grip upon 
your chest, so as to control the flow of air from 
your lungs, and sustain the vowel sound at 
precisely the same power. Now see how long 
and how evenly you can hold the vowel sound. 
The longer you retain that, particularly as the 
lungs approach depletion, the harder and 
swifter you will have to make the breath-pres- 
sure. Even though the effort be stronger, see 
that you preserve the same quality of tone." 
Now, in taking this first step, the pupil may 
not have inhaled quite so comfortably and 
satisfactorily as could be wished. Never 
mind! Do not dismay him with too many in- 
structions. The art of teaching is making 

THE PUPIL DO THE RIGHT THING UNCON- 
SCIOUSLY. It is not necessary in this case 
that he should understand all the details of 
the processes so long as he can accomplish the 



6 Breath 

precise result, without premeditation, every 
time. If he cannot do this, let him repeat 
until he can. Later he will have innumerable 
other points essential for him to watch. If 
he should take a short breath by means of a 
gasp, tell him to take a long, deep breath and 
not to be in haste. He will soon feel that his 
lungs seem to fill at the base, and will have no 
desire to wear corsets. 

But now let me endeavour to explain to the 
ordinary individual, who likes to speak but 
cannot do so convincingly, why his words 
often have so little effect. As a rule, it is be- 
cause he does not understand how to manage 
his breathing. He may be able to pronounce 
and enunciate correctly, but he appears not to 
do so, for the reason that his breath control is 
insufficiently skilful to enable him to make 
certain words, particularly when of more than 
one syllable, convey their most impressive sig- 
nificance. People in the audience may dis- 
tinguish, but are not moved by them, simply 
because, as delivered, they do not convey the 
emotional feeling intended. 

I will pause, for a moment, to point out the 
difference between ordinary conversation and 
public speaking. In the first case, it would 
sound pedantic were a person to speak in 



Breath 7 

private as carefully, properly, and with the 
same incisiveness as he should on a public 
platform. He does not attempt it, therefore 
conversationalists have acquired the habit of 
mumbling rapidly their words, which often 
may only be understood by their inflections — 
that is, by the rising or falling of certain syl- 
lables. To say "no" with a rising inflection 
would convey a query. The voice falling on 
"no" would be tantamount to the assent of 
conviction. Wrong inflections convey wrong 
meanings. But inflections in conversation 
and on the platform are not quite the same. 
They must be accentuated in public speaking 
— more sustained and delayed, so as to become 
stronger, slower, and more effective. Inflec- 
tions I deal with elsewhere, but I must here 
point out that they are executed by influence 
of breath -pressure. 

It is absolutely essential that the vowel 
sounds of accented syllables, particularly, 
should be attacked with firmness, whatever 
power may be required for the note ; and its 
sound must be held, or sustained, longer than 
the vowels of unaccented syllables. Herein 
again arises the importance of breath-pressure. 
To facilitate the holding of the accented 
vowel sound, the experienced elocutionist 



8 Breath 

resorts to inflection. Variety of tone is de- 
manded in public speaking, not only to 
give expression to the words, but to afford 
that change which obviates monotonous de- 
livery. On many occasions, the practised 
speaker finds great assistance from inflections, 
for the reason that they cause the words to 
flow in graceful, even musical, succession. It 
must be remembered that apparently single 
vowels have more than one sound. For ex- 
ample: The final of "o" is the "oo" sound, 
as in mood. This vowel cannot be perfectly 
finished without the ' ' oo " final. Whereas in 
singing the "oo" must become but a brief im- 
pression, in elocution the final sounds of the 
various vowels may often be held longer. 
They assist sustaining effect and are needful, 
because it is much more difficult to sustain the 
speaking than the singing voice. But much 
depends upon the mood of the phrase in which 
the vowel is employed. Often it will be neces- 
sary for the final sound to be very brief; at 
other times it may be slightly prolonged with 
excellent effect. For example : Suppose a 
speaker to be giving an assertion of some be- 
lief in the words "I know." If he desired to 
sound the true ring of conviction, he would 
deliver the vowel sound of "o" in "know" 



Breath 9 

with a sustained pressure of breath — almost 
at full power. As soon as the first sound of 
the vowel was produced, his voice would move 
in a quick, downward direction to an interval 
considerably lower than that on which he 
began the word. In this case, the pressure of 
the breath would really demand strong wind 
power as the falling pitch commenced, gradu- 
ally lessening towards the end. If the speaker 
were desirous of delivering the same word in 
a more conciliatory, or insinuating mood, the 
pressure of the breath would be less, and di- 
minish in proportion to the falling of the inflec- 
tion. Even when light modulations of this 
kind are employed, considerable firmness of 
breath is necessary in order that the voice 
may gain the impetus necessary to enable it 
to move buoyantly. In upward inflections, 
as the highest point is approached the breath 
must gradually subside, until the tone evap- 
orates in such a way as to leave no definite 
remembrance of final pitch. In this way, the 
elocutionist escapes both monotony and the 
suggestion of a distinct note of the musical scale. 
To acquire a smooth, flowing delivery it is 
highly important that every element of a 
vowel sound or consonant impression should 
be fully realised. In speaking, the consonants 



io Breath 

are much more effective bearers of tone than 
in singing. A continuous and even current of 
breath is essential to flowing delivery. The 
consonants act as the connecting links be- 
tween vowels, and, if properly observed, ade- 
quate breath will automatically respond and 
the words flow in graceful cadences appro- 
priate for the speaking voice. 

Who has not observed the speaker who 
talks himself out of breath — the cyclonic ora- 
tor? This is a case of discordant sound and 
purposeless breath. Such have no idea of 
wind economy, vocal modulation, or the 
graceful laws of contrast. He commences on 
a high key which admits of no delicate inflec- 
tions, and continues to discharge his lungs in 
blasts on one piercing level. Audible breath 
frays his tone, he puffs, perspires, finally sub- 
sides into that confusion which has long pos- 
sessed his audience. He has simply wasted 
his breath in more senses than one. 

The cure for such a speaker is to select a 
lower pitch, direct just so much wind upon his 
vowels as will produce compact, rounded 
notes, and feed his consonants with a steady 
but even flow of wind. Variety of pitch he 
should affect, and connect his links of scat- 
tered sound into one continuous chain of 



Breath 1 1 

carefully enunciated, flowing words. Breath 
extravagance is this speaker's primary fault. 

The influence which breath exerts upon the 
carrying power of a voice should not be over- 
looked. Whether the tones be soft or loud, 
they should have even pressure of wind con- 
stantly behind them. A fluctuating tone is 
seldom a carrying one. Whatever the power 
employed, absolutely uniform breath pressure 
will always give not only the most carrying 
power, but the best quality of tone. Soft 
notes are often ineffective because they are 
not of uniform force. The most delicate note 
derives that purity and vitality which travels 
through absolutely uniform pressure of the 
breath. Such delivery derives the inestimable 
quality of composure. 

The vocal power of a speaker, as I have 
said, is determined by the flow of his breath. 
The quality of tone is also largely influenced 
by the way he employs it. A man may pos- 
sess abundance of wind, but if he does not 
know how to make the best use of it, he is no 
better off than the spendthrift, who sinks into 
poverty through squandering gold. The 
prime secrets of successful breath manage- 
ment are steady flow and conservation. The 
speaker, like the singer, must learn to use just 



12 Breath 

so much wind as he requires and no more, 
otherwise his tone will not have the resonance, 
quality, and carrying power which combine 
to produce effective delivery. 

Standing or walking, a person relies upon 
his balance for the stability of his foothold; 
in speaking or singing, on the steady pressure 
of the breath for vocal security. Wind pres- 
sure concentrated firmly upon the note affords 
the same leverage necessary to control which 
balance imparts to the equilibrium of the 
body. The steadying force, broadly speaking, 
comes through the grip on the chest (and the 
use of other muscles I need not specify), which 
mainly regulates an even flow of tone. The 
mouth should retain a constant, immovable 
opening on a sustained vowel sound, otherwise 
it is difficult to preserve the precise wind- 
flow necessary to just fill the mouth-opening 
without waste of breath, which, when it es- 
capes unvocalised, imparts a reedy or breathy 
tone to the voice. Every unnecessary or 
faulty movement of mouth-position on vowel 
sounds not only impairs vocal control, but 
imparts an element or elements of sound dis- 
turbing to the tone -quality. It affects breath 
control in this way: the larger the mouth- 
opening, the more wind is required to fill the 



Breath 13 

breach. The aperture may be made so large 
as to render it impossible so to fill it with 
breath as to round or consolidate the tone. 
Changing the facial opening renders the wind- 
flow irregular; and irregularity of breath 
current jeopardises both vocal quality and 
control. When the flow of wind is suddenly 
checked, it takes a moment to gather again 
that regular motion which efficiently supports 
the note and purifies the quality. There oc- 
curs, in consequence, a disturbing sensation 
of uncertainty fatal to that continuity of 
breath suggestive of perfect vocal fluency. 
Even where crisp syllables are uttered, the 
breath -flow should not be interfered with. 
Accents may be given tantamount to the 
staccato by a sudden push of wind which does 
not stop the breath current. This expedient 
constitutes an elastic expansion or accent, but 
not a break, in the flowing tone. A running 
river expands at the wider points of the bed, 
but the flow goes on the same swift course. 
Let the breath operate likewise in accented 
passages where flowing speech is essential to 
the spirit of the text. 

To convey an idea of the importance of even 
breath-pressure, I will take the following illus- 
tration : 



H Breath 

Suppose two men are balancing a heavy 
ladder on end. Should the pressure of one 
man's hand falter, or become lighter than the 
other's, the equilibrium of the ladder will be 
disturbed. In the same manner, unevenness 
of breath-pressure upon a vowel sound will 
disturb the balance and security of the voice. 
It is helpful to the elocutionist to imbue him- 
self with the idea that his tones must be 
balanced by the breath. 



Taking Breath 15 



TAKING BREATH 

IT is little use discussing physiological prob- 
lems and attempting to lay down scientific 
rules for breathing. There is no difficulty in 
taking a breath if one does so naturally. 
Neither a singer nor a speaker can do it, how- 
ever, if he is placed in trepidation by the fear 
of transgressing the laws which he remembers 
the " breath specialist " is so fond of propound- 
ing. The crying infant knows no laws. He 
employs the resources with which he is en- 
dowed by nature, instinctively; inhaling, ex- 
haling, and holding his breath at will. The 
full-grown person, however, possessing acute 
reasoning powers, is apt to convert involun- 
tary action into an intricate scientific problem. 
When he does so, instinct deserts him, and he 
seeks his object by all sorts of impossible ex- 
pedients, in the confusion and futility of 
which he becomes hopelessly fogged and de- 
moralised. In anticipating difficulties which 
need not exist, he creates the very obstacles 
he desires to avoid. How many patients can 
take a natural breath when desired to do so 



1 6 Taking Breath 

by their medical adviser? In nine cases out 
of ten, they make but a sorry attempt. The 
more anxious one becomes, the more confused 
he is. Whilst in many things nature is only 
the perfection of art, in breathing art is but the 
perfection of nature. Therefore, I advise the 
student at the onset to place himself in a 
comfortable, even indifferent frame of mind. 
Let him eschew effort, and cultivate, what is 
in this application only, the supreme virtue of 
laziness, otherwise he will create an anxiety 
disturbing to natural conditions. The teacher 
who will insist upon complicated theories of 
breathing is only creating difficulties both for 
the pupil and himself. 

When a person is about to speak under 
natural conditions he opens his mouth uncon- 
sciously, takes in air and gives utterance. 
The two things seem to occur simultaneously, 
and all the organs of speech are ready for the 
operation of sound. The processes are not so 
spontaneous when the breath is taken through 
the nose. We cannot improve upon nature! 
Then why should we complicate what should 
be an instinctive action? By all means, in- 
hale through the nose whenever possible, but 
in singing and declamation it is generally 
impracticable. 



Taking Breath 17 

When the breath is inhaled through the 
mouth, the tongue will automatically lie flat. 
This increases the resonant space by prevent- 
ing the tongue from blocking the tone. 

When the breath is taken through the nose, 
the tongue, in one part or another, presses up 
towards the roof of the mouth. 

Just touch the lower teeth with the tip of 
the tongue, then take a full breath through 
the open mouth, and by the mirror it will be 
noticed that the tongue immediately lies flat, 
but hollowed in the centre. 

Abnormally big, or curling tongues, may 
be subjected to control by this method of 
training. 

Say "thou" and the tongue will take its 
proper position.- 

No one will go far wrong in breathing if he 
remember that it is a matter in which the 
chest alone is concerned. The muscles of the 
mouth and throat have neither part nor lot in 
the operation, and must be left severely alone. 
It is only when these cease to interpose their 
very hurtful, spasmodic efforts that the true 
power can be exercised. Leave the throat 
alone, and the chest will work. The control 
must be exercised somewhere, and if we do 
not employ vicious throat control, the proper 



1 8 Taking Breath 

method will come naturally. The chest is the 
motive agent, and will do the work easily 
enough. Aching throat muscles are nature's 
punishment upon the weak for their interfer- 
ence with that which is in no sense their 
business. 



Pitch 19 



PITCH 

IT is almost as difficult for a man to become 
an orator who is tone-deaf as for the 
colour-blind individual to paint pictures. An 
ear for pitch is equally essential to the 
speaker and the singer. There exist, how- 
ever, certain differences which render the task 
of the former, in some respects, far greater 
than that of the latter. The singer has but to 
observe intervals accurately defined for him 
by the laws of music. The speaker, on the 
other hand, must vary the pitch of his tone 
without the guidance of any definite scale of 
intervals. If a speaker were to attempt to 
confine a number of words to a recognised 
musical pitch, he would produce a monotonous 
delivery known as "sing-song." Indeed, the 
repeated or regular employment of the same 
intervals, or succession of declamatory pitches, 
is open to the precise objection, therefore to 
be avoided by elocutionists, unless such meth- 
ods are occasionally demanded for special, 
descriptive purposes. 

Whilst the orator should not sound a per- 



20 Pitch 

feet note of the musical scale in speech, he may 
touch some pitch which approximates to the 
interval. It is the necessity of avoiding 
musical notes which creates constant difficul- 
ties for the speaker. He must have variety 
of pitch, yet cannot obtain it ready-made as 
the singer may from a fixed scale of tones and 
semi-tones. Thus for his variety he is com- 
pelled to rely upon those modulations of voice 
known as ' ' inflections. ' ' These I must treat 
in a later chapter, as I now desire to adhere 
to the subject of "Pitch." 

A singer could not attempt any musical 
phrase without first impressing upon his mind 
the key in which the music was written. This, 
in elocution, I term "the pitch." 

The key of a recitation or speech is deter- 
mined by many considerations : first of all, by 
the natural range and type of the speaker's 
voice ; secondly, the size of the room or hall ; 
thirdly the character of the subject-matter. 
These are the main considerations. The key 
should be sufficiently low to permit of the 
voice reaching the highest pitch demanded by 
inflection, without effort, and sufficiently high 
to admit of the voice being able to descend 
with comfortable resonance. A speaker, 
therefore, should have some idea of the ap- 



Pitch 21 

proximate intervals at which he wishes to de- 
liver respective phrases. Having ascertained 
this, he must also be decided as to whether his 
most significant words will require mainly up- 
ward or downward inflections. If he has mis- 
judged his key, he may often, with effect, 
transpose to another ; but I must remind him 
that such transposition should not take place 
in the middle of a sentence, or anywhere, save 
in that place which is tantamount to the 
starting point of another verse or idea. Minor 
modulations may often take place at the be- 
ginning of sentences. Very startling changes, 
however, should not be attempted without 
good and special reasons justifying the course. 
If the student have an ear for music, he 
may with advantage seek a note on the piano 
fairly answering the pitch he requires. In 
deciding upon this interval, he should seek to 
disguise the piano note by taking a sound 
either a little higher or lower for his first 
syllable. 

We will suppose that the lines are: 

"A little girl stood on the shore, — 
Gazing out to sea." 

The accented word in this case would deter- 
mine the key or guide to the pitch, and should 



22 Pitch 

be delivered about midway between the high- 
est and the lowest note (leaving inflection out 
of the case) the speaker is likely to touch. 

In dealing with the first line, ' ' A little child 
stood on the shore," a particular succession of 
pitches will be required quite different to 
those demanded if the words represented a 
statement complete in itself. But herein it is 
governed by the more important explanation 
(contained in the second line) as to what the 
child did there, viz. , ' ' looking out to sea. " "A 
little child," therefore, should be uttered 
somewhat in accordance with the course of 
the lines and curves marked below the sup- 
posed words. In reciting the first line the 
voice must have regard to the approximate 
intervals as follows: 

lit - tie chi - Id stood o - n the shore,* 

*^i i rmi m 8 J^i S 

The altitude of the line defines the relative 
pitch. The thickness indicates the pressure 
of the breath and power of voice demanded. 

This brief example will serve to show the 
plan upon which the voice moves by inflection. 
The phrase employed may, of course, be vari- 

1 For explanation of this small loop or circle see page |o. 



Pitch 23 

ously treated, even with better effect. My 
object is to demonstrate the variety of 
pitches which must enter into modulations, 
and how they are connected in flowing se- 
quence. 

It is necessary to divide the range of the 
chest or speaking voice into three pitches. I 
employ the term " chest," in order to exclude 
the light, falsetto tone of the higher inflections 
from the calculation. We will divide the 
chest range into three sections : the low pitch, 
the high, and the medium. Many other in- 
tervals are employed, but three are sufficient 
for our purpose. On these three pitches we 
base our modulations. Each becomes the 
key-note, for the time being, from which the 
intervals are calculated. In ordinary con- 
versation, we choose our pitch instinctively, 
for by practice in a small room we have 
learned to feel, without thought, which eleva- 
tion is most suitable. When a person comes 
to address an audience in a large hall, how- 
ever, he finds himself at sea, because, through 
lack of experience, he knows not the pitch and 
vocal power required to make his words tell. 
Artificial conditions are created, and he has 
not the art to satisfy them. The process is 
very simple, after all. Let him either raise 



24 Pitch 

the pitch or increase the force of his lower 
voice so that it will reach the farthest listener 
in the hall and sound to that person like ordi- 
nary conversation. He must speak slower and 
employ stronger and more continuous breath 
current than he would use in a small room. 
To do this, his chest control must be more 
rigid, vowels sustained, and inflections made 
to sing longer and louder. Even under these 
extra demands, he should retain his natural 
form, simply accentuating the force and flow 
of his technique. If he read carefully the 
following chapters, he will understand the 
agencies I term "technique," and realise how 
to combine the various parts of the vocal ma- 
chinery. Not that he should complicate his 
mind with too many details, so long as the 
machine, as a whole, runs smoothly; but I 
would enable him to detect any weakness that 
may arise in any part thereof. I shall avoid 
multiplying rules and mention but those prin- 
ciples which are necessary to afford him an 
intelligent idea of cause and effect. Above 
all things, let the student be natural ; but 
expand his natural forces to suit the size of 
his room and audience. 

"We often hear a speaker enjoined by his 
hearers to "speak up!" Exactly! That is 



Pitch 25 

why he should understand " pitch" — at least 
recognise that the larger the room the slightly 
higher should be the pitch, or stronger the 
pressure of wind. At the same time, never 
allow the voice to mount too high. Lower 
tones, well supported by firmly and evenly 
sustained breath, are always most effective 
and convincing. They carry farther than is 
generally imagined. The safest plan when 
seeking a higher pitch is to elevate the voice 
gradually — feel your way. 



PRONUNCIATION 

A SPEAKER should endeavour to under- 
stand every element which contributes 
towards perfect pronunciation and enuncia- 
tion, otherwise he will be unable to achieve 
the true proportions of finished articulation. 
Let it be understood that when I speak of 
pronunciation I refer to vowel sounds. Enun- 
ciation is intended to treat of consonants. 
Combination of the two represents articula- 
tion. We often use the term pronunciation, 
however, in a sense which includes the three. 
These sub-divisions are necessary for analyti- 
cal purposes so that we may determine the 
accurate balance of the respective elements of 
speech. The first effort towards this accom- 
plishment should be directed towards produc- 
tion of the true vowel sound which forms the 
tone-basis of a syllable. Upon this achieve- 
ment, resonance, vocal quality, and musical 
flow depend. Each vowel sound has its own 
particular mouth and lip position or opening. 
As all mouths differ in shape, slight modifica- 
tions are sometimes necessary in order to 

26 



Pronunciation 27 

meet certain tone characteristics peculiar to 
the individual. But the true position of each 
vowel must be approximately defined. 

One of the most difficult problems of our 
time is to ascertain what may be accepted as 
perfect English pronunciation. Existing un- 
certainty arises mainly in respect to vowel 
sounds. Each locality is subject, more or 
less, to what we term the provincialisms 
of speech. One will give a broad, another 
a lighter sound to the vowel supposed to 
be employed. A standard pronouncing dic- 
tionary tells us which variant of a vowel 
should be used, but provincial influences may 
convert a long "a" into a short "o." For 
example: In Yorkshire, one has heard "man" 
pronounced "mon," and the short sound of 
"a" (as in "hat") delivered as "ah." A 
person cannot perfectly distinguish the sound 
of his own voice; therefore, even after con- 
sulting a dictionary, he will unconsciously 
emit the wrong sound of a vowel. He should 
be guided by the opinion of one who, having 
travelled in various English speaking coun- 
tries, is able to distinguish the peculiarities of 
pronunciation common to each. The safest 
course is to endeavour to realise the medium 
between extremely broad and unduly light 



28 Pronunciation 

vowel pronunciation. By this means, he will 
avoid that which may appear so unusual as 
to sound eccentric or pedantic. It is possible 
to speak correctly without that extravagance 
which would jar upon the ear of those who 
have been accustomed to correct but modi- 
fied forms of speech. Pronunciation and 
enunciation (the first applies to vowels, the 
second to consonants) should never appear 
artificial. It will not do so if all the elements 
of a vowel sound are fluently evolved in their 
proper proportions and extremes are avoided. 
It is a very desirable plan to note the diction 
of an accomplished public speaker. The pro- 
nunciation of such, if he be a travelled man, 
may generally be accepted as representing the 
happy medium. It is necessary, however, 
for all students of elocution to understand the 
"mechanism" of perfect articulation. Un- 
less they do so, they will not be competent to 
detect any flaw which may render parts of 
the local machinery ineffective. As a conse- 
quence, they may stumble blindly on, wasting 
their time and strength upon mere guess-work. 
Not knowing the processes by which vocal 
effects are naturally obtained, they resort to 
all manner of artificial expedients, which but 
render confusion worse confounded. 



Pronunciation 29 

To consider the technique of speech in 
anything approaching a helpful manner, I 
must, to some extent, traverse the path ot 
common knowledge, for we must enter upon 
analysis. We convey our thoughts by means 
of written and spoken words. The latter de- 
rive sound from vowels, diphthongs, and 
consonants, principally from the first named, 
having well-defined variants, with which we 
must become familiar. The accepted vowels 
are: a, e, i, o, u, and the school books tell us 
' ' sometimes w and y . ' ' The rest of the alpha- 
bet consists of consonants. 

A diphthong is a combination of two vowels, 
giving, apparently, a single sound. For ex- 
ample: "oi," as in ''boy"; consisting of 
u aw" as in "awe," and "e" as in "eat." 

As a matter of fact, there is hardly a vowel 
sound which can be considered complete in 
itself. It is most important that speakers and 
singers should realise this, or they will never 
completely master the mechanics of articula- 
tion. The final of "o," as in "owe," is "00," 
as in ' 'moon." This vowel cannot be rounded 
and completed without such final. The clos- 
ing sound of "o," as in other cases, however, 
must be very brief — just sufficient to round 
and cut off the vowel. 



30 Pronunciation 

The final of "a," as in "hay," is the long 
ll e" in "eat." 

Long "e" has for its final just a faint trace 
of short 4 'i," as in "it." This, however, need 
not concern the speaker. Constant waste 
occurs in all forces. Allowances must, there- 
fore, be made for this deterioration, in elocu- 
tion, as in all things. In pronouncing a vowel, 
if we aim at the real sound, owing to this 
waste, we barely hit the mark. We must 
allow for this leeway just as the expert rifle 
marksman in considering his elevation calcu- 
lates upon the law of gravity and the force of 
a side wind. If a speaker or singer attempt 
the real sound of a short "i," he will, in all 
probability, arrive at a short 44 e," as in "met." 
He should, therefore, attack this variant of 
the vowel with just the suspicion of the long 
44 e." The method will not be distinguishable 
by a too acute sound, for the reason that the 
voice in the first attack does not tend to 
throw up the true vowel sound, that comes in 
the later and more sustained portion of the 
tone. For the same reason, aim at "la" 
when giving forth the short sound of 4v u" (as 
in 44 love.") A speaker's pronunciation is 
judged by the effects which reach an audience, 
not by the expedients he employs to arrive at 



Pronunciation 31 

perfect results. The methods I have sug- 
gested, therefore, cannot be deemed distor- 
tions of English. They are indispensable 
both to tone -quality and pure diction. What 
purports to be long "i" cannot be completed 
without its final: acute "e." 

There really should be no such vowel as 
long "i," so far as the elocutionist (or singer) 
is concerned. That sound known as "i" 
commences with sustained "ah" and ends 
with a brief, acute "e." The mere closing of 
the mouth will sufficiently realise this final 
element. 

Singers, generally, have difficulty with the 
vowel "i" because they do not realise the 
above fact. Speakers, for the same reason, 
do not obtain the best results. As "i" does 
not exist as a separate sound, there is no 
single available mouth-position for it. The 
novice feels round for it with his lips, but does 
not succeed. The person who recognises the 
constituent parts of "i" will go for the "ah" 
position at once, hold it, then cut it off with 
acute "e" by means of closing lips. He thus 
realises the true "i." It should be remem- 
bered that the "ah" position of the mouth is 
one of the most open and favourable for pure, 
resonant quality. Those who seek a single 



32 Pronunciation 

mouth-position for "i" and do not observe 
the elements of the vowel, will invariably 
employ a nearly closed or moving mouth, 
and, of course, with unsatisfactory results. 

Before proceeding further in this direction, 
1 must give the vowels and their variants, 
which are as follow: 

4 k A " has four distinct sounds : 
"a," as in "hay"; 
"a," " "father"; 
"a," " "awe"; 
"a," " "hat." 
41 E" has two: 

"e," as in "eat"; 
"e," " "bet." 
"I," two: 

"i," as in "lie"; 
"i," " "bit." 
"O," two: 

"o," as in "owe"; 
"o," " "not." 
"U," has two: 

"u," as in "mute"; 

"u," " "but." 

The above vowels and their variants are 

sufficient to form comprehensive bases for 

most words or syllables. The student must 

learn to distinguish the vowel element which 



Pronunciation 33 

forms the basis of the word employed. For 
example, take the word ' ' her. ' ' One might be 
inclined to imagine the vowel sound in this 
case to be a variant of the vowel "e." It is 
not so. It partakes more of the short 4l u," 
as in "but." The sound of the tl r" by way 
of a final adds an important distinguishing 
element to the word. At the first blush, the 
student might feel that the short "u" was a 
distortion. But let us consider: All forces 
weaken in distance. A vowel sound does 
not reach the audience precisely as it leaves 
the speaker's mouth, for the reason that the 
longer it is held and the farther it travels, the 
weaker it becomes in pronunciation. The 
sound of any short vowel is more and more 
attenuated the longer it is held. The attack 
of the pronunciation, therefore, may be per- 
fectly accurate; but the longer the vowel 
sound continues, the thinner and more deci- 
mated it becomes. In public speaking and 
singing, therefore, we must aim at a more 
exaggerated pronunciation to make up for 
this waste or deterioration. Investigations 
will show that the foundation of some of the 
lighter vowels contains an element of ''ah." 
We must strengthen, broaden, or render more 
acute the vowel colours in order that they 



34 Pronunciation 

may not fade through travelling considerable 
distances. 

Let the student carefully weigh the con- 
siderations I have now advanced, and by the 
experiment of adopting the same principle 
with other vowels and their variants, prove 
for himself how this deterioration of colour 
affects an audience. 

Take the word "bull." This is not a pho- 
netic variant of the "u," and cannot be 
placed under the category of "u's." It is 
derived from a variant of "oo." Double 
11 o" is the basis, and should be aimed at in 
attacking the vowel. The mouth must extend 
to allow the tongue to realise the consonant 
"1." The first attack of the word gives the 
small round double "o" mouth-position, but 
as the mouth is extended for the final "1," the 
double "o" sound becomes so tempered by 
the change of facial position as to realise the 
true pronunciation of "bull." Let it be a 
rule with public speakers and singers to aim 
for a stronger, broader, or more exaggerated 
sound of the vowel in order to provide for the 
fading of vocal colour to which I have alluded. 
In working upon this principle, great care 
must be taken that the various elements of 
a single vowel should evolve in those true 



Pronunciation 35 

proportions which realise perfect pronuncia- 
tion AS IT REACHES THE AUDIENCE. A student 

cannot distinguish perfectly the results of his 
own vocal work, therefore he must be guided 
by his teacher or some one with an equally 
sensitive ear and discriminating mind. But 
to continue. 

"Oo" is sounded as in "moon." 

"Oo" occurs in "bull," but more briefly 
than in "moon." 

A combination of "a," as in "far," and 
11 oo," as in "moon," will produce the essen- 
tial sound of "o," as in "how." 

Serious misconception exists regarding the 
long ' k u, " as in ' ' mute. ' ' Many people give it 
the sound of "oo," as in "moon." The true 
pronunciation begins with acute "e," as in 
u me" ; then comes the "u," which has for its 
brief final, "oo." This mechanism evolves in 
the perfect articulation so as to necessitate 
three mouth-positions, as follow : the extended 
smiling lips and nearly closed teeth on "e"; 
rather widely rounded lips and more open 
teeth on "u"; the lips describing a smaller 
and rounder opening on the final "oo" at- 
tained by the closing mouth. These positions 
should follow on smoothly, so that the tone 
elements may evolve without revealing the 



36 Pronunciation 

process. In singing, these three divisions be- 
come more urgent. The speaker, however, 
who has not to sustain tones as long as a 
singer, may confine himself to acute "e" and 
the 4 'oo." 

To utter the word "you," let the student 
pronounce the acute "e" and then "oo." 
Dismiss all thought of "y," simply say "e-u." 

The element or sensation afforded by the 
"u" is automatically provided by the lips 
gathering themselves together for the small 
round position of "oo." The tongue comes 
forward in the mouth, under some restraint of 
contraction, as if it sought to aid the com- 
pression of the lips. 

As the vowel of the word or syllable is the 
voice builder, the speaker should not only dis- 
tinguish its true sound, but sustain it by 
breath-pressure throughout most of the sylla- 
ble. He should know the requisite mouth- 
position for such vowel, and not depart from 
it until the consonants render it imperative. 

In order to cultivate sustaining power, de- 
liver the various vowel sounds on one evenly 
sustained pitch, preserving the tone so long as 
the breath shall last. 

Repeat this vowel exercise in combined 
crescendo and diminuendo form. 



Pronunciation 37 

Pliant lips are necessary to connect the 
facial movements of fluent speech. Any 
hesitancy as to vowel position or consonant 
operation results in scattered tone, of bad 
quality, ill control of voice, and general in- 
efficiency. Vocal movement then becomes so 
spasmodic, or uncertain, as to be disturbing. 
The reason of all this is very simple: When 
the mouth position is fixed and immova- 
ble, the breath spontaneously fills the aperture 
formed by the lips, and creates round, con- 
solidated tone of the best quality. If, by the 
uncertainty of the speaker, the lips are de- 
scribing various shapes, the regular flow of 
wind is so checked and disturbed as to de- 
stroy all feeling of vocal control; pronuncia- 
tion and enunciation become imperfect, and 
tone suffers. The student, therefore, should 
understand, first, the relative mouth-positions 
of the respective vowels. 

44 A," as in "father," demands the fullest 
oval, rather than round opening — a full yawn. 

"A," as in "awe," similar aperture slightly 
condensed, particularly at the mouth corners. 
Slight changes of lip position only, are neces- 
sary. Pupils usually go to extremes in these 
matters. 

"A," as in "hat," like "ah," only with 



38 Pronunciation 

mouth slightly more closed — about a half 
yawn. In practising, assume the respective 
open positions by means of the ' ' yawn. 7 ' The 
muscles of the face will thus avoid that tension 
which causes throaty or constrained tones. 

"A," as in " hay, ' ' an extended mouth, with 
the opening between the teeth sufficient to 
admit the forefinger its broadest way. This 
will give (the mouth corners are not too 
stretched) what I term the " square opening," 
though in reality the lips describe a moderately 
long, gaping slit. 

"E," as in "eat," has a still more extended, 
but shallow opening ; the teeth admitting the 
narrowest part of the forefinger. The correct 
aperture will avoid extreme, reedy quality. 

These acute sounds should be delivered 
softly, with a light flow of breath. 

"E," as in "bet," requires the teeth to take 
rather fuller opening. 

"I," as in "lie," demands first the "ah" 
position, held throughout the syllable, and is 
followed by the acute "e," as in "eat." This 
position, however, is but briefly maintained. 

"I," as in "bit," describes about the third 
of a yawn. 

"O," as in "owe," requires a full round 
"O "-shaped opening. 



Pronunciation 39 

"O," as in "not," similar to that of "a," 
as in "awe." 

"Oo," as in "moon," necessitates a longer 
opening than that of "o"; slightly more ex- 
tended horizontally — equivalent to a small, 
round opening which has been flattened. 
This position does not admit of extreme 
power. 

"U," as in "minute," begins with the 
acute "e" position, is followed by a rather 
full "oo" position, which becomes smaller 
and more rounded for its final impression. 

"Oi," as in "boy," demands an oval posi- 
tion; that is, with the "o" shape slightly 
condensed at the mouth corners or sides; 
"e" position follows as a brief final. 

"Ow," as in "how," commences with the 
"ah" position, ends with the double "o" 
shape. The latter is very brief. 

"Open vowels" are those which afford the 
most open mouth-positions. These naturally 
contribute more resonance than closed vow- 
els (such as long "e" and "a"); therefore, 
where uniform power is required on both open 
and closed tones, the breath pressure should 
be modified on open syllables, and slightly in- 
creased, where consistent with good tone, on 
the closed vowels. The student may utter a 



40 Pronunciation 

closed vowel, and with the same breath-force 
deliver an open one; he will then realise the 
disparity in volume and quality which occurs. 
This experiment will serve to remind him of 
the necessity of equalising tones where uni- 
form power and quality are demanded. 

"Thou." — In attempting this word, do not 
aim to produce the complete sound of "ow" 
at the first attack. Remember, that tl ow," 
as in "thou," is composed of "ah," as in 
"father," and "oo," as in "moon." The 
"ah" is held throughout the sustained word 
and the "oo" briefly sounded by way of final. 

"Love." — In attacking the vowel sound of 
this word, let the mouth assume the "ah" 
position. Say "ah" so long as the vowel is 
sustained, using a soft loose breath. As the 
mouth closes to realise the "v" it adds suffi- 
cient of the short "u" sound (as in "love ") to 
render the elements of the pronunciation pro- 
portionate, and the whole complete. This 
form is demanded when the mood is strenuous. 

Certain emotions require "love" to be de- 
livered softly, tenderly, or brightly. Then 
the mouth should assume the smiling, or ex- 
tended position, when the "la" sound may be 
less acute. But its influence must not be 
ignored in attack. 



Pronunciation 4 1 

In observing these forms of the two words 
("thou" and "love"), the broad sound of 
the vowels will not prove too apparent; but 
I have often found this process necessary to 
escape unduly closed lips, consequently muf- 
fled speech. 

Long "e's," "a's," and other thin vowels 
often need to be given their most acute sound, 
by means of the more closed mouth, at the 
moment of attack, whereupon the teeth may 
gradually be opened so as to increase the re- 
sonance of the voice, yet retain the purity of 
the vowel. In this case, we are providing for 
a similar leakage as that to which I have 
already referred. 



42 Enunciation 



ENUNCIATION 

THE above treats of those connecting links 
between vowels known as consonants. 
We often hear a speaker who, though not de- 
ficient in tone, cannot deliver his words so 
that they may be understood. If we note his 
lips we find them inactive. The mouth is 
open, yet nothing issues but a succession of 
meaningless sounds. We may surmise his 
words, but cannot distinguish, nor are we 
moved by them. This speaker is neglecting 
his consonants. By their influence, the sylla- 
bles should fall from his lips as drops of water, 
resting upon each other like pearls upon a 
thread. The flowing breath is the thread 
which binds them. This disregard of most 
important elements of speech is generally due 
to ignorance of the mechanical processes by 
which perfect enunciation is fluently and 
naturally acquired. It is to these technical 
points I now desire to give consideration. 
Just as the vowel sounds have their distinctive 
mouth positions, so have the consonants each 
their own particular lip and tongue operations. 



Enunciation 43 

The offices of both have direct bearing on 
neatness and facility of expression. In con- 
versation, their employment has become more 
or less instinctive through unconscious, imi- 
tative faculties; but the natural laws which 
govern them are seldom studied, hence the 
working of the mechanical parts are so rarely 
understood that their application cannot be 
adapted to the unusual conditions which arise 
on the public platform. Let us, then, consider 
how these consonants are enunciated. 

"B" requires the firm pressure of the lips, 
which holds the breath in check. The lips, 
though closed, should have the smiling exten- 
sion. When they open they must part quickly, 
assuming at once the vowel position which 
follows. This sudden release of wind focusses 
it upon the vowel sound, ensuring clean, re- 
sonant attack. 

"S" demands the hissing sound so easy to 
exaggerate with disturbing effect. People 
who lisp fail to concentrate the hiss through 
wrong action of the tongue and faulty posi- 
tion of the mouth, which fail to focus the 
breath. The mouth is held so loosely the 
wind scatters and creates a slovenly, sloughing 
sensation, as though stirring excessive mois- 
ture in the mouth. To control the breath in 



44 Enunciation 

such cases, students should direct and confine 
a delicate current towards one narrow point, 
verging upon the two middle teeth of the lower 
set. The tip of the tongue should lie against 
these teeth, and, by the assistance of the 
slightly contracted lower lip, form a shaft to 
convey the breath in a narrow current. Very 
little wind is required. The mouth then 
opens quickly, and the hiss dissolves pleas- 
antly into the clear note of the vowel held by 
immovable lips and mouth. 

" S " may also be sounded by nearly touch- 
ing the roof of the mouth with the tip of the 
tongue. The breath then hisses through the 
aperture thus created. The choice of method 
will be governed by the sounds which either 
precede or follow the "s." 

"D " is prepared by the firm pressure of the 
tongue's tip against the gums of the upper 
teeth, to keep in check the full, eager breath 
waiting to attack the vowel. The tongue is 
then released after a spasmodic pressure and 
the mouth opens at once, retaining the exact 
shape for the vowel until the final consonant 
of the syllable cuts the word. Attention to 
this detail ensures perfect attack and best 
possible tone. 

"T" is produced by the same mechanical 



Enunciation 45 

means, but needs a lighter pressure and re- 
lease of the tongue than the harder "d." The 
lip position of "t" is more extended than 
that of "d," and the facial expression smiling 
instead of serious, which involves a contracted 
mouth. 

"F." — The upper teeth press the lower lip 
when the vowel precedes, and hold the breath 
in check as the tongue does in other cases. 
The breath pressure is soft in the attack of 

"V." — The operation is the same as on 
"f " ; but the pressure of the teeth and breath 
is harder than that of "f." 

"G." — In dealing with this consonant, the 
back, flat portion of the tongue presses against 
the rear surface of the roof of the mouth, hold- 
ing the breath in check. The letter "g" re- 
presents two sounds: the hard, as in "gay"; 
soft (like "j"), as it occurs in "gentle." 

"J" demands a similar application of the 
tongue to that of soft "g." The tip of the 
tongue lightly presses well up, over the gums 
of the upper teeth. To increase the tension, 
the front portion of the tongue adheres to the- 
forward part of the hard palate. 

" H." — We blow a breath with rounded lips 
when whistling. We aspirate "h" likewise, 



46 Enunciation 

but with the mouth in such open position as 
the vowel it precedes demands. 

Note. — Short vowels precede an aspirated 
"h." Forexample: "The horse"; short "e" 
in "the" (generally given the sound of short 
"u," as in "but"). The long "e" precedes 
vowels such as "o" in "orange," viz.: "The 
orange." 

It is but necessary to emit a light, loose, 
staccato breath, with the mouth extended, or 
fully open, to achieve the aspirate. Those to 
whom this does not come naturally often 
make difficulty for themselves by employing 
too fierce an effort. This method is not only 
unnatural, but sounds so exaggerated as to 
defeat the object in view. 

"C" and "K."— The mechanics of these 
consonants are similar to those of hard "g," 
only that the tension of the tongue is more 
pronounced and its contraction occurs farther 
back in the mouth. It will be noticed that 
"g" is more open in attack than "k," which 
requires closer formation. 

"L," as a preceding consonant, is enun- 
ciated by placing the tongue -tip over the 
gums of the upper teeth. Firm pressure of 
the tip assists attack of the succeeding vowel 
sound. 



Enunciation 47 

"L," when a final, demands the same 
tonguing. If the tip remain on the gums, the 
mouth is extended to the smiling position, and 
the pressure of an increasing breath being 
continued, a bell-like vibration, describing ap- 
propriately beautiful tone -sensation, will be 
realised. Such expedients assist flowing de- 
livery. If the tongue leave the gums before 
the wind-flow ceases, we have the effect of 
"ul-u" (the short "u" as in "but.") 

"M." — The humming sensation of this con- 
sonant is derived from lips closely pressed. 
If they open before the breath ceases, a sound 
foreign to the word, ensues with disturbing 
effect, thus: "em-u" (short "u"). One often 
hears singers betray this defect. 

" N." — This sensation comes from the tongue 
being pressed against the upper gums as on 
"1," but the tip lies natter, and the press- 
ures of tongue and breath are harder. 

"P." — This is produced by the same pres- 
sure of lips, though lighter, as "b." 

I should remind the reader that a difference 
exists between such consonants as "p — b," 
"t— d," "k— g," "f— v," "s— z," "sh— zh," 
"th" in "think," "th" in "then," etc. The 
first of each pair represents a soft and the 
second a hard sound. The mouth-position 



48 Enunciation 

and action in the case of the two consonants 
forming any of these pairs are the same, but 
greater pressure, tension, or contraction is 
required in the harder consonants, which may 
almost be regarded as vocal, than in the softer, 
which are mere breath impressions. 

"Q" is a blend of "k" and "w." The lips 
must form the "w" and the tongue "k" 
simultaneously. (See "k" and "w.") 

1 ' R " may be rolled or have one simple turn. 
When rolled, the tongue-tip nearly touches 
the upper gums and is vibrated by a strong 
flow of breath. The simple turn, of general 
employment, consists of a quick upward 
brush of the tip, from the gums over the teeth 
and along the roof of the mouth. The tongue 
barely touches the latter. If any difficulty is 
experienced in mastering the turn, feel the 
action of the tongue when saying "ru," stac- 
cato, as in " rough." Next practise "ah-ru" 
(short "u"), running one into the other, 
making "ru" staccato. The tongue must be 
slightly stiff rather than softly flexible. 

It is the common neglect of this turn or flick 
of the tongue that produces "r," which con- 
verts ' ' are " int o " ah . " To pronounce " r " in 
"are," after holding the vowel "ah," give the 
light flick or simple upward turn of the tongue. 



Enunciation 49 

"Cultured" is often pronounced "cul- 
chawed," because of the absence of the flick 
of the tongue necessary to enunciate "r." To 
realise " d " at the end of this word, the tongue 
must be pressed against the upper gums, then 
removed suddenly. 

' ' T " as " d, " but with less pressure of tongue 
to realise its lighter character. 

"V" as "f," but harder pressure of teeth on 
the under lip. 

"W," with lips closed, all but the smallest 
round opening, similar to that which would be 
employed in blowing lightly. The mouth 
opens quickly from this position to that of 
the vowel which follows. 

Example: "Wi," in "will." 

When "w" is associated with the aspirate, 
as in "when," blow lightly through the "w" 
opening before attacking the combined "w" 
and "h," then suddenly attack the succeeding 
vowel. 

Examples: "When," "which," "why," 
"wherefore." 

"X" is built up of short "e," "k," and 
"s," and has the same effect in words as "cs." 

"Y" first demands the "e" position. To 
pronounce "young," commence with acute 
"e" and follow on quickly with short "u"; 



50 Enunciation 

enunciate "ng" and you have the vowel ele- 
ment from the most resonant facial openings, 
and the true pronunciation of the complete 
word. 

Note. — If the student does not analyse in 
this manner he will not readily be able to 
understand what is required in the way of 
mouth-positions for best results. 

"Z" carries an influence similar to "S, " 
only that it is harder in character and de- 
mands more tension of the breath, tongue, and 
vocal muscles. 

"Ch." — The difference between this posi- 
tion and that of "j" is that whilst on "ch" 
the tongue-tip presses rather more directly 
against the gums over the upper teeth, the 
upper surface of the middle portion of the 
tongue does not touch the roof of the mouth so 
hard as in "j." The action is altogether 
lighter and looser, the sound being pointed, 
as it were, by the tongue-tip. 

"Ng," as in "sing," calls for more tongue 
pressure than " n. " Further, whilst the latter 
is secured by the tip, the "ng" intensity is 
acquired by pressing the middle of the tongue 
up against the roof of the mouth. 

If the tongue does not take its proper posi- 
tion on "ng," such words as "coming" will 



Enunciation 51 

sound as "comin'." This occurs when the 
tongue lies at the base of the mouth. 

"Th" as in "think." The tip of the 
tongue nearly touches the top of the upper 
teeth. The breath finds a passage over the 
tongue. Direct the breath on the tip as it 
inclines upwards, to intercept the wind. 

"Th" as in "the." The tongue presses 
against the edges of the upper teeth to check 
the breath. 

"Sh" in "wish." The feeling of tension 
is on the back part of the tongue, which rises 
towards, but does not touch, the roof of the 
mouth. On the other hand, the hiss of "s" 
employs the tip of the tongue. The breath 
is directed upon the tip, which lies near, but 
does not touch, the gums over the upper teeth. 
The breath passes through the passage thus 
created. 

' ' Zh, " the sound which " s " has in ' ' vision. ' ' 
In this, the tongue takes the same position as 
in "sh," but it is contracted and moves nearer 
the roof of the mouth. 

"Wh," in "which," demands a slight waft 
of breath on the rounded lips, then the sus- 
tained short "i" by the half -open mouth, 
finally the mechanism noted under "eh." 

Upon the swiftness, accuracy, and delicacy 



52 Enunciation 

with which the successive mechanical opera- 
tions of the tongue and lips are realised, 
depend the quality and carrying power of a 
voice quite as much as upon the flow of 
breath. Consonants properly enunciated not 
only economise breath, but induce that flow- 
ing continuity of tone which comes naturally, 
without effort, and appeals to an audience. 

In employing vowel and consonant posi- 
tions, it should be borne in mind that the 
emotional character of the voice, required 
occasionally on any of them, must not be 
sacrificed to those positions. There is a 
bright and a sombre position for each vowel 
which does not destroy pronunciation. But 
appropriate facial expression will adjust all 
that. 

I should here explain that the foregoing 
and many other directions in this book are of 
the nature of exercises for private practice. 
No pianoforte student can essay with success 
a composition demanding elaborate execution 
unless he has previously mastered scales a ad 
exercises so efficiently as to play difficult runs 
without thought or hesitation. After such 
study, his execution would become involun- 
tary. It is thus with the elocutionary student. 
Before he can perfect his technique, he must 



Enunciation 53 

thoroughly understand the mechanical pro- 
cesses involved. Having done this, he should 
become so practised in the true forms of 
verbal expression that he is able to realise 
them unconsciously. Whilst speaking, there 
is plenty of necessary occupation without 
being compelled to remember each mechanical 
element comprised in the finished technique. 
The student should aim to acquire, by re- 
peated practice, that unconsciousness of tech- 
nical detail which confers upon him the 
restful consciousness of his own facile powers. 



54 Articulation 



ARTICULATION 

ARTICULATION represents the complete 
outlines of speech. The vowels supply 
the body colours, the consonants the high 
lights. Without articulation, the vowels have 
no form; without consonants, word-pictures 
have no perspective — no character. The 
smooth and proportionate blending of vowel 
and consonant sounds — appropriate emphasis 
of the former, and graceful inflection upon 
the latter — lead to that clear expressiveness of 
delivery we describe as articulation. The 
student should acquire this art by that slow 
practice which enables him to apply the 
various mechanical operations without thought 
in appropriate proportions. Although syl- 
lables should be distinct, they must be united 
in flowing phrases. Regularity of breath- 
pressure contributes to that evolution of 
facial expression which facilitates continuity. 



Emphasis 55 



EMPHASIS 

EMPHASIS upon a syllable is acquired by 
increased pressure of the breath simulta- 
neously with that contraction of the muscles 
which takes place preparatory to coughing. 
Emphasis is employed to make the meaning of 
a sentence clear. If a writer is correctly under- 
stood, his precise meaning may be conveyed 
by emphasising the most essential words of 
his sentences. By laying stress on the wrong 
word, it is easy to convey an erroneous im- 
pression, just as it becomes in the case of in- 
appropriate inflections. Take the sentence, 
"Have you done this?" If the object is to 
ascertain if a thing has been accomplished, 
regardless of what the act consists, then the 
emphasis would occur upon "done." Were 
it necessary to know who had done a certain 
act, the stress would fall upon ' ' you. " " Have 
you done this?" Accent on "this," would 
show a desire for the act to be specified. 
Accent on "Have," suggests impatience, 
such as might occur in the case of conceal- 
ment or prevarication. 



56 



Emphasis 



Prominence may be given a word or 
syllable without actual increase of breath- 
pressure or voice, if the important word is 
held longer than the other at the same power 
and pitch. In solemn phrases, such methods 
are appropriate, as they afford that most 
eloquent of all emotions — suppressed feeling. 
A silent pause often gives impressive em- 
phasis to a profound thought. 

Emphasis frequently needs to be supported 
by prolonged power of voice after the per- 
cussion of the accent. Where such necessity 
arises, the tone is concentrated upon the 
vowel sound. When the vowel is followed by 
a consonant, the latter does much of the 
sustaining. It is then we make our "l's," 
"m's," and "n's" sing or hum. 



Inflections 57 



INFLECTIONS 

INFLECTIONS are the delicate curves or 
* modulations of voice, which promote 
flowing cadences in speech and obviate angu- 
larities in vocal movements. Were it not for 
inflections we should have a succession of 
stilted intervals without any modulation to 
connect and weave them into consecutive, 
flowing form. The effect would be : a number 
of staccato pitches bearing no sympathetic 
connection. In conversational speech, every 
one employs them to a greater or lesser ex- 
tent, unconsciously. It is when it becomes 
necessary to develop the voice to a higher or 
louder pitch on a public platform that the in- 
experienced speaker finds something is miss- 
ing. Precisely! Never having recognised 
the part inflection plays in ordinary conversa- 
tion, the novice has neglected to tune this 
instrument to " concert pitch." His words, 
therefore, fall with a short, dull thud, devoid 
of that continuity conducive to vital carrying 
power. In the absence of reinforcements (in 
the form of sustained inflections), there is 



58 Inflections 

heard but detached blows of sound, monoton- 
ous in regularity, indistinguishable in purport. 
Whilst the tone in the first attack and sus- 
taining power of a vowel should be full, even, 
and strong, the vocal quality of the inflection 
is of necessity lighter — more of the falsetto 
character. The power in this quality should 
vanish at the close of the upward inflection. 
Much depends upon the rapidity of the up- 
ward inflection for its perfect security and 
grace. With practice a speaker may easily 
attain greater and greater range in upward 
inflections through this falsetto. By experi- 
ment, the student will soon be able to ascer- 
tain the compass of his ordinary, or chest 
voice, likewise his falsetto limits. But it 
must be remembered that, whether in strong 
or light passages, vocal efficiency cannot be 
attained without a steady, even flow of 
breath. In dealing with inflections, it should 
be borne in mind that the voice must often 
return to the starting point defined by the 
pitch of the last deep chest tone. This play 
of voice constitutes a circle or loop, which will 
possibly be understood by the following dia- 
gram : 







Inflections 59 

The inflection represents a succession of rising 
pitches. These are so connected by breath 
influence that the course of the upward modu- 
lation seems to take the form of the rising 
portion of a loop, thus: 



c 



Often in descending, the direction of the 
voice would seem to describe the remaining 
portion of the loop, thus: 



*) 



It may or may not be as I describe ; but it will 
be helpful to the student to accept this theory 
and to realise that a chain of inflections often 
creates a series of rings or loops evolving out 
of the first and greater curve which seems to 
describe the initial inflection movement. 

Observe the course of inflections in deliver- 
ing a prolonged exclamation on the letter O! 
It will realise the outline of the letter just as 
the lips define it in correct speaking: 







The outside loop describes the courses of the 



60 Inflections 

upward and downward inflections, which, 
when combined, complete the closed curve: 



§/ 



In teaching novices stage declamation, I 
have often had to describe with my finger and 
arm the movement of the voice, sketching 
in the air the curves, circles, and straight lines 
the tone follows. The quickness with which 
the hand moves indicates the speed demanded 
by each particular phrase. 

The courses of a combined upward and 
downward inflection (as in O) are in accord- 
ance with the following diagram: 



§ ! 



The pitch herein ends slightly lower than it 
began, in order to escape anything approach- 
ing a monotonous or musical interval. 

Thus it will be seen "O!" represents an 
exclamation containing two distinct impres- 
sions. The upward inflection sounds the note 
of inquiry, thus: 



C 



Inflections 61 

The downward inflection gives the note of 
conviction, thus: 



") 



In this way, the loop is completed. 

To acquire facility of inflection and buoyant 
flexibility of voice, practise a succession of 
upward and downward inflections on long 
"o" in one breath in accordance with the 
above diagram. This exercise will realise a 
series of loops. 

If the student experiment with the follow- 
ing brief example, it may possibly enable him 
to understand the technique of the stronger 
inflections. I will employ the familiar intro- 
duction to a speech: ''Mister Chairman." 

Mis - te - r Chai - rman. 



>> 



y 



I - e ha - ve plea ---s-u---re 
(ah-e) 

Explanation of Diagram 

The voice on " Mister" is sustained in the 
singing or humming form, on one pitch, as 



62 Inflections 

described by the line. Increase the pressure 
of breath and the hold on the short vowel 
"a" in "chair." Commence the downward 
modulation of the voice, on this vowel, with 
increasing breath-pressure, continuing it on 
the sustained consonant "r" to the level 
pitch indicated under "m" in "man." Con- 
tinue the same falling direction on the vowel 
"a" in "man," concluding this flow by the 
sustained consonant "n." 

It will be found that the two great essen- 
tials are: sustaining the vowel sounds and 
causing the consonants to vibrate. The latter 
seem to whir-r in circular form (as a wheel in 
motion), and for this reason I have placed 
small loops in the diagram as they occur. 

Where the lines are thickest, the breath-flow 
and vocal power are strongest. 

The relative elevations of the lines indicate 
approximate pitch. 

From the above brief examples, it will be 
realised what is necessary to make the voice 
carry and at the same time afford that variety 
of intonation which obviates monotony of 
pitch. Inflections, such as I have suggested, 
assist expressive contrasts of vocal colour, add 
not only flowing delivery, but something ap- 
proaching musical form, to speech, which, 



Inflections 63 

however eloquent in thought, would otherwise 
sound dry and tedious. There is much ana- 
logy between the vocal colours used in speech 
and those employed by the graphic artist in 
landscape painting. All are governed by the 
fundamental laws of that contrast which se- 
cures variety. Each distinctive shade of in- 
flection expresses some particular tinge of 
emotional feeling. Three ingredients, so to 
speak, mainly provide colour: 

(1) The lip and mouth influences, which de- 

fine the respective facial positions 
necessary for the vowel and consonant 
sounds of perfect pronunciation and 
enunciation. 

(2) The breath. 

(3) The contraction, in varying degrees, of 

the muscles of the chest and throat. 
As I have already pointed out elsewhere, 
an even, continuous flow of breath is essential 
to the elocutionist. In executing inflections, 
firm wind currents are demanded in order to 
acquire the security of perfect vocal move- 
ment. In attempting an inflection, it is neces- 
sary to sound the key-note, or pitch, from 
which the inflection starts on its upward 
course, in such a sustained form as will cause 
the breath current to flow swiftly. The close 



64 Inflections 

of the first sustained note should, however, be 
tapered slightly so as to blend more readily 
with the lighter tone employed in the rising 
inflection. The impetus gained by the swift 
setting in motion of the wind will carry the 
voice on its upward course with ease and 
facility. It may be noticed that the voice 
becomes softer and moves quicker as it rises 
until the tone evaporates at an extreme 
height, leaving no suggestion of definite pitch. 
Thus: 



L 



The downward inflection starts from an 
equally sustained base, and diminishes in the 
same form as the upward modulation: 



) 



In executing the two movements combined, as 
in 







representing the "O!" — previously referred 
to — a brief emphasis should be given by an 
extra ''push" of breath when the voice 



Inflections 65 

reaches the top of the loop where the down- 
ward inflection begins — the turning-point. No 
greater power is required, however, than that 
which just serves to give the command of 
voice requisite for the facile turn at this 
point : 







It should be the object of the reciter to cul- 
tivate a flowing delivery. The great charm 
of an accomplished speaker lies in the smooth 
current of neatly articulated words, which 
bear the true emotional spirit they are in- 
tended to possess. It might be imagined 
that inflections would rather disturb this 
continuity by preventing a smooth attack on 
the next syllable. It is not so, however, if 
the reciter imbue his mind with the idea that 
on the same pitch which an inflection ceases, 
the next tone, inflection, or utterance, gener- 
ally begins. He should remember that the 
movement of the voice often describes an 
almost unbroken succession of curves, which 
form themselves into loops of various sizes, 
thus : 



66 Inflections 

When one listens to the sustained vibra- 
tions of a consonant such as "1" or "n," 
they suggest the swift whirring of a small 
wheel impelled by some force. In elocution, 
the breath is the power. I have found it an 
aid to the breath to associate the wheel theory 
with the vibrations of consonant inflections. 
The small loops or rings indicate the wheel 
sensations, which the student should cultivate. 
They will assist sustained tone and flowing 
vocal movement. 

Fantastic as the idea may possibly seem to 
those who have not studied the matter and 
been forced to this conclusion by the necessity 
of impressing continuity of tone upon stu- 
dents, my deductions, I am convinced, are 
founded upon the natural laws which govern 
tone-movement. But if the reader should be 
disposed to reject this theory, at least let him 
endeavour to study the idea I have endeav- 
oured to impress upon his mind by means of 
the above expedients. 

In private practice, considerable power 
should be given to inflections, and they must 
move slowly. In public performance, they 
will often need to be so light and swift as to 
become almost imperceptible. In conversa- 
tion, the voice is constantly moving in the 



Inflections 67 

loop form I have described by the alternations 
of upward and downward inflections. Every 
syllable, more or less, realises this circular 
course; but so delicate is the movement, 
close observation is necessary to realise the 
fact. It is the result of involuntary efforts 
to escape vocal monotony. In such cases, 
instinct guides us aright. 

I may here suggest to the student that he 
should endeavour to speak those successive 
words which seem to demand it, on one pitch, 
if possible, and in doing so preserve the same 
power of voice in order to give the somewhat 
monotonous, colourless tone which must often 
precede an emphasis, or series of dramatic 
modulations. 

The study of inflections, here indicated, is 
for the student rather than the speaker — for 
private practice rather than for public per- 
formance. In public speaking, or reading, 
the voice will follow known and tried paths, 
but must do so unconsciously. Let the 
speaker and reader endeavour to give the full 
force of the words used, and inflection will 
come naturally. But it will not do this unless 
by careful study we have accustomed the 
voice to inflect, and become emancipated 
from the dreary dominion of monotone. 



68 Attack 



ATTACK 

IT will be noticed that I have employed the 
term "attack" in these pages. Lest its 
meaning has not been understood, I will now 
endeavour to explain its nature and import- 
ance. By "attack" I mean the initial per- 
cussion or sound of the voice in pronunciation. 
One may discharge a continuous current of 
breath through the mouth without uttering a 
sound. If we desire to articulate softly and 
smoothly, we unconsciously create a contrac- 
tion of certain muscles of the chest and throat, 
as though preparing to cough. This slight 
involuntary tension creates vocal tone. We 
do not naturally set or hamper the throat by 
restraint which will cause the voice to sound 
throaty ; hence I say the action is involuntary 
because spontaneous and natural. When the 
action is not involuntary we intensify or ex- 
aggerate the operation, rendering it unnatural. 
If the voice is to assume various degrees of 
power in attack, then we must govern, to some 
extent, the muscular contraction. To do this, 
simply act as though you were about to cough 



Attack 69 

silently. If hard percussion attack of the voice 
is demanded, then prepare to cough harder. 
Regulate this preparation for attack to the 
power demanded. Supposing the speaker 
were about to utter "Ah!" he should fill his 
lungs, hold his breath firmly, but lightly, then 
release the pent-up breath suddenly upon the 
vowel, supporting the tone by a swift, in- 
creasing pressure of wind. This attack should 
be staccato, and convey, in the first impact of 
breath upon the vocal ligaments, a single 
crackle. To understand my meaning, pro- 
duce, softly, a quick succession of short "u's" 
(as in "but") very staccato, whilst the breath 
is continuously flowing with a firm pressure 
from the chest. The above attack can be 
employed on all words commencing with a 
vowel. This concentration of breath gives 
the best and most resonant quality of voice. 
It contributes a clean attack. The tension I 
have mentioned, and breath currents, can be 
so regulated as to afford a soft note, with no 
perceptible percussion in it, yet a neatly con- 
centrated tone as opposed to a scattered note 
containing distracting elements, fatal to clear, 
sonorous quality. 

Another form of attack may be given by 
discharging the contents of the lungs, without 



70 Attack 

any regulation of wind-flow, in one blast — a 
swift l ' push ' ' of the breath. This is suitable 
for single exclamations where the sound of 
the breath may not be out of place, such as 
"shame!" 

Still another attack may be found in the 
softer and slower sigh of breath which does 
not give explosive character to the sound 
("Ho" in "home"). 

Each attack, in turn, is specially applicable 
to some particular mood or emotion. 

In dealing with vowels, the mouth must 
always be found in the proper position for 
receiving the attack of breath. Where con- 
sonants are concerned, the tongue or lips, as 
the case may be, should likewise promptly be 
at their post. In the development of speech 
there is often little time to dwell upon such 
details in the way of mouth-positions, etc., as 
I have mentioned; but the speaker must 
practise articulation, slowly, at first, in order 
to acquire clean attack, efficient breath, glib 
tongue, flexible lips, and expressive counten- 
ance, all of which bear prominently upon 
finished elocution. With practice, that which 
is at first an effort will eventually become 
involuntary. 



Sustaining 7 1 



SUSTAINING 

THE speaker acquires emphasis on words by 
attack and sustained tone. The power 
of the latter may either be equal in volume 
throughout the vowel sound or increased. If 
the former, he dwells longer on the main 
vowel sound of the syllable or word; if the 
latter, he describes what in music is known as 
a crescendo. A crescendo in speaking is much 
swifter than in singing. The swelling of the 
tone, therefore, must be quick, almost fierce. 
This will necessitate firm, sudden, and in- 
creased flow of breath, and more forceful con- 
traction of the muscles to which I have 
alluded under ' ' Attack. ' ' Firm control of the 
chest is the dominant factor, a fixed mouth on 
the vowel sound being almost as indispensable. 
It is sustained breath which ensures the grace 
and symmetry of flowing phrases ; the delicacy 
and colour variety of inflections; the stately 
movement of heroic utterances. The spas- 
modic speaker, deficient in breath control, re- 
minds me of a pump devoid of suction — - 
neither can manage the requisite flow. 



72 Sustaining 

Connective speaking demands more pro- 
longation of consonants than singing. In- 
deed, in some instances, consonants are held 
longer than the vowel sounds. With such 
words as "known" on long upward inflections 
the consonants fully share the honours with 
the vowels. Sustained "m's," "n's," "ng's," 
or "l's" (in the humming form) act like oil on 
the orator's machinery. But the breath be- 
hind them must be strong, swift, enduring. 
If one make his consonants tell, there is little 
difficulty in acquiring vocal flow. As I have 
previously observed, they string the beaded 
vowels together in one continuous chain. 
Inflections suspend them in graceful festoons, 
which lend picturesque form to prosaic ideas. 
The most perfect matter may be ruined by 
imperfect delivery; on the other hand, com- 
mon-place words are rendered beautiful by 
the grace of symmetrical diction. 



Punctuation 73 



PUNCTUATION 

IN ordinary conversation, speakers punctuate 
their remarks more or less instinctively, 
but often incorrectly. In babyhood, they have 
learned to talk by rote. In school-days, they 
acquire some knowledge of the uses of ' ' stops ' ' 
by the process of imitation. They seldom 
analyse and grip the mechanism of verbal 
punctuation . A person observes the marks but 
fails to understand the processes of thought 
which prompt them. In conversation, a 
speaker will often take breath anywhere and 
anyhow, regardless of awkward interruptions 
which must occur in the flow and sense of his 
sentences. Bad punctuation may pass mus- 
ter in private conversation, but on the plat- 
form the effect becomes so distorted as to 
render it difficult for the audience to distin- 
guish the drift, even, of the speaker's remarks. 
If a man attempt to punctuate according to 
acknowledged rules, on the stage he may 
minimise and not give due effect to his 
" stops" because he has not accentuated them 
sufficiently for a large room. He is unable to 



74 Punctuation 

do so because, not being familiar with the 
component parts of the machinery he uses, 
he is unable to strengthen the weakest of 
them sufficiently to give effect to their opera- 
tion. It is necessary, then, to study some of 
the sources whence effective punctuation 
derives its force. 

Let us commence with the comma (,). The 
merest schoolboy will at once say, ' ' Stop long 
enough to count one," and be perfectly accu- 
rate, so far as he goes; but will not go far 
enough. Generally, when a comma occurs an 
upward inflection is involved, and this moves 
on the syllable or word immediately preceding 
it. Now, this inflection requires more breath- 
pressure and rather longer sustentation of tone 
in a large hall than in a small room. The 
breath, therefore, should be delivered firmly 
and strongly upon the vowel from which the 
inflection springs. It becomes lighter as the 
chest voice dissolves into the falsetto. Where 
two commas form something of the nature of 
a parenthesis, the words between them, bear- 
ing no essential part of the text, should be 
spoken on a slightly lower pitch, in a softer 
tone, and the last comma of the two need not 
reach the height of inflection which the syllable 
before the preceding comma had touched. 



Punctuation 75 

The parenthesis [ () ] contains what should 
be treated as an " aside ' ' and dealt with as I 
have described in the preceding case. 

The interrogation point (?) demands a 
stronger and longer upward or downward in- 
flection, as the case may be, followed by a 
more definite pause. The pitch of the sen- 
tence to which it is attached should be suffi- 
ciently low or high to permit of one or the 
other. The interrogation (?) denotes a ques- 
tion. It terminates a sentence much as does 
the full point, only that it may demand an 
upward or downward inflection. The respect- 
ive modulations all have specific meanings. 
Each is governed by the particular sense in- 
volved, or the word emphasised. Take the 
question: "What time is it?" If "time" be 
emphasised, the voice would fall ; if the stress 
be upon "what," the inflection at the end of 
the sentence should be upward. "Would 
you" is capable of several different interpre- 
tions. As a question pure and simple, the 
voice should rise. A falling voice would sug- 
gest expectation. The same inflection, with 
power, might mean defiance. 

The period or full point (.) denotes the 
termination of a complete sentence, and is 
used where an exclamation or interrogation is 



76 Punctuation 

not involved. The voice thereon falls by- 
downward modulation, which terminates de- 
cisively on a low pitch. The pause on a 
period must be governed by circumstances. It 
is understood to be long enough to count four. 

The semi-colon (;) requires the voice to 
fall ; but as it denotes that the words following 
bear some relation to the previous text, the 
voice does not descend quite so decisively in 
pitch or power or remain so long as on the 
period. The pause, too, though brief, should 
not become so short as that of the comma. 

The colon ( :) requires the voice to fall much 
in the same form as the semi-colon. It pre- 
cedes a quotation, an example, an explana- 
tion, enumeration of details, etc. It connects 
parts of sentences, less intimately associated 
with a previous part than where a semi-colon 
would be employed. The colon focuses the 
mind upon the most essential point of a 
sentence. That which follows this mark of 
punctuation should be delivered slowly and 
impressively, with the confident tone of con- 
viction. 

The exclamation (i) demands explosive 
tones, or strong accent, upon the word which 
it follows. Pressure of the lips or tongue, as 
the case may be, upon the consonant, before 



Punctuation 77 

delivering the percussion attack of the breath 
upon the vowel should be firm and accom- 
panied by contraction of the muscles of the 
chest and throat and sudden breath-pressure. 
The voice may have to remain at a stationary 
pitch, rise, or fall, just as the emotion may 
demand. 

A dash ( — ) denotes a pause, and may pre- 
lude changes of pitch and mood. It also con- 
centrates the attention of an audience upon a 
salient point, and calls for impressive modu- 
lations of tone. The dash delays and accent- 
uates, often with effect, the point of a jocular 
or grave observation. 

Rules of punctuation, like all others, are 
subject to exceptions governed by the sense 
of the text. This branch may be helpfully 
studied on reference to an excellent little work 
written by Mr. T. Bridges. 1 No one should 
be without the valuable yet simple little 
brochure. 

1 37, Maclise Road, West Kensington, London. 



7& Mood 



MOOD 

" JV/IOOD" indicates some particular frame 
IV ' of mind. A speaker or reciter is com- 
pelled to represent in his voice many diverse 
emotions indicating various temperaments. 
A single word or phrase may be made to con- 
vey several meanings. In spontaneous exhibi- 
tions of passion, the face often indicates the 
nature of inner feelings that the words fail to 
convey. On the other hand, facial expression 
may neutralise the strength of severe words. 
The reciter in a large hall is often so imper- 
fectly distinguished that his facial play lends 
little support to his words beyond that which 
facial expression undoubtedly adds to tone 
through appropriate pronunciation and enun- 
ciation. Every element in an elocutionist's 
technique has influence, direct or indirect, 
upon those characteristic modulations which 
give expression to emotional words. A faulty 
breath creates wrong emphasis; an unsym- 
pathetic pitch strikes the jarring note; a 
wrongly directed inflection conveys the re- 
verse of what is intended. In successful 



Mood 79 

elocution the mood of a word must not only 
be accurately diagnosed but felt, looked, and 
expressed by means of the most perfect tech- 
nical methods. Any lapse of the technique 
will result in the destruction of that expres- 
siveness which realises the mood or spirit of 
the written thought. Under various heads I 
deal with the mechanical operation of the 
technical parts of the elocutionary machine. 
But even the rules suggested therein must at 
times be modified to meet the requirements of 
exceptional moods. Words, after all, are but 
the medium by which humanity expresses its 
feelings. Words that do not accomplish this 
are meaningless. When inadequately ex- 
pressed, their emotional significance is felt 
neither by the speaker nor his hearers. A 
laughing mouth may disguise the solemnity 
of pathetic words and bright sentiments be 
dulled by pouting lips. Therefore, facial 
expression must strongly influence mood. 
Pronunciation and enunciation likewise affect 
it. Correct pronunciation delivered without 
regard to the mood may convey misleading 
impressions. 

A capable master of singing recently called 
in question a mouth-position of a certain 
vowel as inferior to another suggested, which 



80 Mood 

certainly gave the bald sound of the vowel. 
But the latter did not realise the required 
mood, therefore I had modified the mouth- 
position. This teacher had not thought of 
the spirit which the word was intended to 
convey, so whilst he unwittingly uttered a 
good but inappropriate tone, the word be- 
came meaningless. 

Possibly the reader will now understand 
that he must first of all realise the mood — 
his pronounciation may still be clear and 
correct even if he have to modify his vowel 
by either imparting a brighter tone with a 
smiling mouth, or pathetic utterance through 
oval lips. 

Consonants should likewise be treated in 
accordance with the sense in which words are 
employed. If a soft "s" is converted into a 
fierce hiss by strong and prolonged breath 
flow, we find that breath may destroy the 
mood. 

We enunciate "d" by pressure of the 
tongue. If that pressure be too hard instead 
of light, there is an end to the gentle spirit in 
which the word may be intended. 

Vice versa, we shall have feebleness instead 
of stout resolution. 

Mood influences the strength and length of 



Mood 81 

our words and inflections; tells us whether 
tones should be crisp or sustained. In fact, 
we cannot speak or sing intelligently without 
taking cognisance of it. 

When a person, in private conversation, 
gives expression to his feelings, he reveals his 
mood, but cannot give due effect to it in 
public because he has not the elocutionary 
knowledge to enable him to put into his words 
the significance they should bear. 

Whilst upon this subject, I must call atten- 
tion to the difference between the contrasting 
methods of the speaker, the actor, and the 
reader. Elocutionists, as a rule, are taught 
too much upon theatrical lines. Readers, 
actors, and public speakers should work on 
very different principles so far as mood is 
concerned. The actor impersonates a par- 
ticular character. His own personality must 
become absorbed in that creation. Here we 
must have some exaggeration. The reader, 
on the other hand, represents only the author. 
In poetry, he is the poet ; in history, the his- 
torian. It is the author's mood, whatever his 
style or spirit, to which he must attain. 
Dangers he should avoid are those of intrud- 
ing himself, or misconceiving his author. The 
speaker represents but himself if he would be 

6 



82 Mood 

accepted as sincere and convincing; not the 
casual self of the informal home circle, but 
the man of earnestness and conviction who 
has a definite message to deliver, or duty to 
perform. He must prove effective, but not 
affected. Stage utterances would be out of 
place in the pulpit; heroic methods adapted 
to simple subjects result in burlesque. In 
dealing with moods, therefore, both reader 
and speaker should avoid undue exaggeration. 
Their emotions ought to be delicately sug- 
gested rather than enforced. 



Facial Influence 83 



FACIAL INFLUENCE 

THE face is the index of the mind. However 
well chosen the words, clear the articula- 
tion, appropriate the gesture, the audience is 
unlikely to be thrilled with the emotion a 
speaker may seek to convey, if the face fail to 
indicate the true state of the mind. The 
elocutionist, as well as the singer, should, there- 
fore, not only feel all that his words express, 
but look it. An expressionless face dis- 
counts the soulfulness by which the speaker is 
supposed to be swayed. Audiences realise 
changes of mood first of all from the facial 
indications which almost invariably precede 
those of the actual words. Changes of ex- 
pression mark the alternations or conflicts of 
mood as specifically as do inflections of voice. 
No one can be understood to mean one thing 
whilst looking the reverse. There is a still 
more important consideration. The requisite 
technical processes cannot be fully realised if 
all the forces of one's nature are not working 
in complete harmony. It is easy enough to 
hear in the dark whether a person is making 



84 Facial Influence 

an observation with a smile on his face. In 
conversation, the same words may assume 
various meanings, according to the respective 
manner of utterance. Expression of the face 
influences character of tone in this way: 
Mouth and lip positions employed in speaking 
or singing are numerous, constantly defining 
changes and combinations of tone. Each 
gives a particular turn or expression to a 
word. If the face illustrate the mood, the 
vocal mechanism is more likely to operate 
automatically and discharge its functions 
effectively without thought on the part of the 
speaker. In pronunciation, each vowel sound 
has assigned it a definite mouth -position. 
Each consonant demands a particular em- 
ployment of the lips and tongue. These can- 
not be perfectly directed without the mouth 
assuming those shapes which permit them to 
perform their respective functions. Facial 
expression prompts the mouth, lips, and 
tongue to natural, simultaneous action; thus 
we secure spontaneous impressions. By the 
slightest movement of the lips or mouth, one 
may change the character of the voice. That 
being so, a student has but to ascertain the 
operation of the various movements and he 
may eradicate the undesirable qualities of his 



Facial Influence 85 

tone. Attention to facial influences will do 
much, if not all, that is necessary in this 
direction. (The breath has a share in the 
responsibility.) For example: I have heard a 
speaker attempt to deliver a light, pleasant, 
observation with a voice so hard, throaty, and 
severe as to quite misrepresent the spirit of 
his words. Such instances constituted a dis- 
tortion of tone, therefore of sense. Being on 
a public platform, the speaker could not be 
natural. Thinking to make the voice carry 
by physical force, he applied muscular re- 
straint, as follows: Looked anxious and se- 
vere, set his throat to control his wind, 
compressed his cheek, rounded his mouth with 
tense lips, leaving but a small opening. No 
wonder his pleasantry fell unsympathetically 
upon the ears of others. The course he should 
have taken was as follows : Assumed a smiling 
expression, which would have given extended 
lips, maintained a comfortable but steady flow 
of breath, and confined his pitch to a lower 
and more conversational tone. This position 
of the mouth would have made it well-nigh 
impossible for the speaker to compress his 
throat, and the voice must have been brighter, 
more silvery, instead of hard and oppressive. 
The rounded mouth, slightly drawn in at the 



86 Facial Influence 

corners, acquires tone-fulness, sympathy, and 
pathos. The above-named positions repre- 
sent the two emotional extremes. Variants of 
them provide many intervening characteris- 
tics and are worthy of careful study, so far as 
they apply to elocution. Most of these are 
treated under the various heads where they 
may be considered to belong. 

In treating ''Facial Influence," I have 
dealt first with the mouth and lips because 
these have direct bearing upon tone quality. 
The eyes, whilst stimulating to some extent 
the organs of speech through the channel of 
sympathy, relate more particularly to manner. 
The power of the eye, however, should not be 
under-rated. It can be made to excite many 
emotions. With the help of the brows, the 
eye may express surprise, horror, content- 
ment, or any mood of the emotional gamut. 
It appears to take many forms and lights. As 
a matter of fact, these changes are largely 
suggested by movements of the brows, lids, 
and lashes. The pupils of the eyes certainly 
do expand and contract, under the influence 
of light, shade, or emotional excitement. We 
have most of us observed what we regarded 
as a flashing eye (probably the snapping of 
the lids) and the sudden gleam of the excited 



Facial Influence 87 

orb (the contraction of the pupil possibly). 
These, however, can only be influenced by un- 
restrained abandonment on the part of the 
speaker to his emotional sympathies. He 
can, however, command such mechanical 
forces as his eyelids, eyebrows, and muscles 
of the forehead. But in the employment of 
these he must enlist the co-operation of his 
mouth, mind, and face. He may study the 
action of all these features by observing in 
private life and from the auditorium of a 
theatre the working of the human face under 
the spell of various passions. Simple as they 
may seem, it is well to charge the mind with 
a few fundamental expedients, such as the 
following : 

The eyes open wide and quickly under 
surprise, delight, and kindred impulses. 

Open wide in uncontrolled anger, and the 
brows are knitted. 

Close slowly in placid thought or slow 
cunning. 

Close partially, spasmodically, with knit- 
ted brows, in treachery, or cunning that is 
surprised, threatened, or vanquished. 

Darken softly under relaxation of mind. 

Lighten under mental agitation. 

Open with fixed, immovable stare, me- 



88 Facial Influence 

chanically, under deep thought or con- 
templation. 

Smile or twinkle in humour. 
Dull or expressionless when "out of the 
picture," and the mind should become in- 
active. 

It is unnecessary to attempt to account for 
all the changes of expression the eyes assume. 
Aided by the sympathy of the facial influences, 
undoubtedly they emit a wide range of emo- 
tional paroxysms. All, however, spring from 
the workings of the speaker's mind and thus 
become automatic. The patent axiom, there- 
fore, must be: Feel what you say, look 
what you feel. In other words, Be sincere. 
Conviction weighs. 

The poise of the head is the background 
which throws up the facial picture. A few 
examples are sufficient to indicate the im- 
pressions these may stimulate : 

The head held high and firm may indicate 
courage, defiance, scorn, etc. 

The head elevated, poised in a listening 
attitude, suggests inquiry. 

Resting upon the chest, it may denote 
despair, grief, resignation. 

Thrust forward, with extended chin, it 
may realise aggression, hate. 



Facial Influence 89 

Tossed upward — derision, contempt, in- 
difference. 

Shaken slowly — sorrowful, regret, mild 
dissent. 

Shaken quickly — either pleasant or con- 
temptuous disagreement, according to the 
play of countenance. 



9° Demeanour 



DEMEANOUR 

THE bearing of a speaker prior to address- 
ing an audience is a matter of some im- 
portance. Whilst seated on the platform he 
is, as stage parlance puts it, "out of the pic- 
ture," therefore his manner ought to remain 
quietly dignified and unobtrusive. He should 
take no cognisance of the audience — not seem 
mindful of their presence. Restlessness, anxi- 
ety of countenance, fidgeting of any kind, are 
to be avoided. If he have occasion to ac- 
knowledge the private remarks addressed to 
him by a supporter on the platform, he should 
acknowledge the civility so quietly as not to 
attract the attention of the audience in any 
way. He must resist any temptation towards 
the usual preliminary of a nervous man in the 
way of coughing or clearing his throat. His 
general manner should be that of one who 
has come to listen thoughtfully to some one 
else rather than that of a speaker impressed 
with the importance of his own personality. 
Now, these suggestions may appear to the 
young speaker as of little moment, but they 



Demeanour 91 

are really of grave consequence, for the reason 
that any inappropriateness of deportment is 
likely to prejudice the mind of the audience 
in such a way as to disturb sympathetic re- 
ceptiveness. When the orator rises to speak, 
let him do so with deliberate, dignified confi- 
dence. In standing, he should preserve an 
easy balance upon one foot, with the other 
advanced diagonally in front, so that his body 
may sway occasionally from one to the other. 
It is important, however, that he should ex- 
ecute no oft-repeated pendulum movement, 
but when he has occasion to change the poise 
of his frame, should do so with a slow and 
easy sway of body. Such movements ought 
always to be exercised on an emphasised 
syllable of a word which he desires to im- 
press upon his hearers. Unlike the concert 
singer, the speaker may occasionally allow 
his eyes to rest upon members of the audi- 
ence in easy succession, as though he were 
addressing a particular member of the as- 
semblage. He should not, however, except in 
rare cases, point his finger at any person. 
In selecting the portion of the room where he 
desires to direct his gaze under such circum- 
stances, he should take care that the indi- 
vidual is seated well back from the front 



92 Demeanour 

rows, otherwise the shorter range of vision 
will cramp his body and be likely to result 
in awkward attitudes. Although a speaker's 
face may assume expressions illustrative of 
his moods, when he is indulging in a joke at 
which his hearers are likely to break into 
laughter, he should preserve a grave face in 
order that he may not appear to over-estimate 
the pungency of his wit. There is another ex- 
ceptional instance in which a speaker is not 
compelled to illustrate his words by the ex- 
pression of his face. This occurs whilst in- 
dulging in severely critical remarks, when he 
has no disposition to become fierce or too 
personal in his denunciation. He may then 
reduce the sting of his comments to some ex- 
tent by adopting a pleasantly smiling expres- 
sion. The contrast herein is frequently as 
effective as when impassively delivering an 
extremely humorous joke. He may often 
minimise the effect of demonstrations of dis- 
approval by a quiet smile and indulgent 
manner. 

I treat gesture in another chapter, and will, 
therefore, now but briefly warn the speaker 
against extravagant gyrations of the arm or 
eccentric movements of the body, unless such 
are necessary to give point to exceptional 



Demeanour 93 

words by way of illustration. In thoughtful 
utterances, the manner of the speaker should 
bear the semblance of calm reflection. His 
pitch, inflections, and sustaining power of 
voice ought, therefore, to be in harmony with 
this contemplative mood; in fact, all that he 
looks and does must be perfectly in sympathy 
with the significance of his words. If his re- 
marks be punctuated by applause, the orator 
should immediately pause, and, without ac- 
knowledging the demonstration, stand in a 
calm, waiting attitude until the interruptions 
cease, when he must resume his speech at the 
point where his last audible word ended, or 
recommence the interrupted sentence. He 
should not acknowledge, even by an inclina- 
tion of the head, any applause that may greet 
him at the conclusion of the speech, but re- 
sume his seat with the same dignified self- 
suppression which has marked his demeanour 
"when out of the picture." 



94 Gesture 



GESTURE 

APPROPRIATE gesture is demanded not 
only to enhance the impressiveness of 
emphatic words, but to relieve the monotony 
created by an impassive figure. Young and 
inexperienced speakers are often prompted by 
enthusiasm to oyer do this branch of the sub- 
ject. It should, therefore, be the rule to at- 
tempt as few arm movements as possible. 
Those which are employed must be thoroughly 
appropriate and well rehearsed. Effective, in- 
voluntary gestures sometimes do occur, but 
are not to be relied upon. It becomes neces- 
sary, therefore, to study the mechanism of all 
gestures, and it is safer to begin with the 
simplest. Before commencing rehearsals, the 
student should realise the fundamental laws 
which govern such actions, the first of which 
is evolutionary development. That which is 
angular is incomplete, therefore undeveloped. 
Just as we seek to avoid angularities in tone 
progression and artistic accomplishments gen- 
erally, so should we avoid them in gesture. 
As a flowing voice proceeds by curves, so 



Gesture 95 

should the arm, wrist, and hand move in ges- 
ture. An arm movement calls into play five 
sections of the limb, which must be made to 
move in harmonious sequences. When per- 
fectly employed the course they take de- 
scribes the curve of a half-circle or loop. 
Thus we avoid an angular movement. The 
first section to be set in motion when the arm 
hangs at the side is the upper- arm (that por- 
tion from the shoulder to the elbow) ; next, 
the forearm, wrist, hand; lastly, the fingers. 
One might imagine the hand first to move in 
raising the arm; but it must not be so con- 
sidered. The leverage comes from the shoul- 
der. The upper-arm commences to sketch 
the outline of the curve, then the elbow- 
joint comes into play, when the upper-arm 
becomes partially raised and the forearm 
takes up the development; the wrist -joint 
having commenced to bend, the hand con- 
tinues the movement; finally, the curved 
fingers come into play, completing the half- 
circle. In the downward gesture, the shoulder- 
joint acts first, next the elbow, then the wrist. 

I descibe the movement in this form, but 
the student, if he prefer, may deal with it in 
the following way: 

The arm is hanging at the side (close to the 



96 Gesture 

side). In raising it, describe an upward sweep 
of the hand in the form of nearly a half- 
circle. To do this without bending the re- 
spective joints I have mentioned would give 
a stiff arm and an awkward movement. Bend 
the joints slowly, one after the other, at regu- 
lar intervals, whilst the arm is moving, carry- 
ing the hand turned downward from the 
wrist until the arm has nearly reached its 
fullest height, then continue the movement in 
its flowing form by turning the hand upward 
and backward, until stopped by the wrist. 
Retain this attitude for a moment, the whole 
body remaining at rest on the pause of the 
hand. In lowering the arm, extend the whole 
arm well forward, allowing the respective sec- 
tions, one after the other, to descend limply. 
In this movement, carry the hand bent back 
on the wrist until the whole arm reaches the 
point where it becomes stretched out hori- 
zontally. The hand comes into line with the 
now stiff arm, which descends quicker from 
this point. As it descends from the hori- 
zontal position, the hand should be turned 
downward (until blocked by the under part of 
the wrist) in rhythm with the descending arm. 
The effect of this hand expedient is to lengthen 
or continue the sweep of the downward curve. 



Gesture 97 

This method of gesture produces a supple 
effect. The arm in rising or falling should not 
move in line with the body, but proceed some- 
what diagonally, so as to avoid the stiffness of 
parallel lines. Curves are essential in gesture 
and movement. 

Supposing a speaker's right hand was rest- 
ing upon his watch chain, near the left pocket, 
and he desired to gesticulate by extending his 
arm to the right. He should not send it out 
straight and stiff, but observe the same de- 
velopment which took place in the foregoing 
example. The arm would then be set in 
motion at the elbow- joint; his wrist would 
work next, but, to give the curve impression 
of flowing continuity, the hand would remain 
bent down and pointed towards the watch 
pocket until it had described half the curve 
and pointed out towards the audience; then 
the hand would slowly bend back on the upper 
portion of the wrist as it had done in the pre- 
vious arm-elevating movement. 

The hand and fingers in such cases act, as 
the sailors say of their ropes, like so much 
1 ' slack " to be " paid out ' ' when the leeway ren- 
ders it necessary. These ever-essential curves, 
it will be found, enter into nearly everything. 
In stage movements, they constantly recur. 



98 Gesture 

An actor to move from the footlights to the 
back of the stage has to "tack" almost as 
assiduously as a yachtsman "beating" up in 
the teeth of a wind. But as the latter comes 
under the head of "Movement," dealt with 
in another chapter I must not here pursue 
this branch of the subject. 

Straight lines, as I have indicated, are to be 
avoided in gestures. To elevate the arm and 
point to the stars with a straight, stiff arm, 
without even a curvature of the hand, would 
not only appear ungainly, but must prove 
such an uplifting as to ludicrously disarrange 
the setting of the speaker's apparel at a mo- 
ment when he requires the full possession of 
his dignity. The arm raised at a comfortable 
height and curved slightly inward, the hand 
inclining in the same direction, will generally 
obviate any such embarrassment and result 
in a more graceful pose. 

Should the speaker's hand have occasion to 
traverse an imaginary horizon, travelling 
from right to left, there is something incon- 
gruous between a stationary stare at a given 
point right before him and the moving hand. 
It is a simple and effective cure for such a 
situation if he follow his moving hand with 
his eyes. This gives a sympathetic and 



Gesture 99 

graceful movement of the head and poise of 
the body agreeable to the audience. 

Whenever a speaker uplifts a hand in face of 
the audience, he should never expose the flat 
palm, or the full breadth of the back of the 
hand. This member should always appear in 
profile. When it is impossible, an elongated 
fist arranged by curved fingers will do if the 
smallest point is towards the line of the spec- 
tators' vision. 

The exceptions to this rule will arise when 
illustrating such phrases as "Back, sir!" and 
' ' No, no ! " The speaker in these cases might 
elevate the open palm of one or both hands. 

The left arm being less supple than the 
right should have more practice than its 
fellow. There is, however, some difficulty in 
the simultaneous employment of these mem- 
bers, and the variety of desirable gestures 
available is limited; therefore elaboration is 
not often safe or desirable. When such ges- 
tures are adopted, the movements of each arm 
should describe the same curve and be de- 
veloped and timed on precisely the same lines. 
Each should commence and finally resolve into 
momentary, statuesque repose with absolute 
precision. The slightest hesitation of either 
arm, or the hand, which is the last to come 



ioo Gesture 

to rest in describing the final outline of the 
curve, must not occur. It is unnecessary, 
however, that the left hand should reach quite 
the same altitude as the right, so long as the 
outlines of each arm are fairly harmonious. 

Restricted movements of the arm and hand 
result in ungraceful angles and spasmodic 
action. A free and supple limb is indispens- 
able. This cannot be acquired without ap- 
preciating the radius to which a sinuous arm 
must be confined. In employing either the 
right or the left, it should move from an easy 
restful position at the side of one's form. The 
right hand obtains its freest radius to the right 
of the body, and should move outward and 
upward in the curved direction to the full 
extent of the limb. In bringing the arm back 
to the left, the hand should not pass beyond 
the centre of the chest. If the simple bend of 
the elbow is relied upon, the limit of the left 
movement will be naturally and accurately 
defined. To exceed the point mentioned 
would result in an ungainly twist of the body 
and disturbance of balance. The complete 
gesture will describe a circle or full loop. The 
left arm must define a similar movement. At 
the conclusion of this figure, the hands come 
down to rest on the right thigh. The hand to 



Gesture 101 

be extended straight in front of the speaker 
should move upward, pointing downwards on 
a stiff arm until nearly horizontal, when it 
comes gradually to the pointing position, 
reaching the indicating attitude as the arm 
comes to a pause at the horizontal point. The 
hand should not then be in a straight line with 
the arm, but slightly elevated, to give an up- 
ward curve, and thus again avoid a straight 
line. 

If the speaker find it necessary to merge 
this gesture into that of the uplifted hand 
(over, but slightly to the right of the head), 
the hand must drop below the line of the 
horizontal arm. As the elbow bends and the 
forearm comes to the perpendicular, the hand 
points straight upward. The forearm, in 
continuance of this development, goes back- 
ward to the shoulder, and as it comes to rest, 
the hand, now bending back on the wrist, 
continues the circular form of the gesture, 
until it lies restfully, and the evolution is 
complete. 

The most difficult achievement in connec- 
tion with this branch of the subject is to 
present the attitude of doing nothing well. A 
false movement or gesture is akin to a discord 
in music. However graceful in progress, it 



102 Gesture 

becomes distractingly uncomfortable unless 
satisfactorily resolved. The discord in music 
must melt into a concord, however long de- 
layed. The gesture should result in a similar 
resolution — repose. If the body, arm, leg, 
head, or eye move during the interval of rest, 
repose is out of the question. The fidgeting 
of the speaker creates disturbance in the 
minds of the audience, and the effect of the 
most gracefully-conceived movement under 
such circumstances is lost. Perfect impas- 
siveness for a brief interval must always follow 
action. Respect these periods of rest as one 
would observe those of punctuation. In 
these cases, the face should indicate no emo- 
tion whatever. Stand and appear as a statue 
in stone to which the sculptor has failed to 
impart even a semblance of thought. When 
you do move, do so with the firmness and 
animation of definite purpose. As you would 
give your voice time to travel, so allow the 
audience to realise the significance of your 
last gesture. By the same effective pauses, 
let quotations stand apart from your own 
spoken ideas. 

The chief emphasis, or climax, of a move- 
ment or gesture should occur upon the most 
emphatic word of the phrase. Where action 



Gesture 103 

accompanies words it should develop in ac- 
cordance with a sense of rhythm. Both 
should move in harmonious flow. Rhythmic 
discrepancies will create angularities destruc- 
tive of symmetry. 






io4 Movement 



MOVEMENT 

THE basis of body movement is balance. 
Before a child can walk it must stand. 
This is not an easy accomplishment for either 
the child on his feet or the adult novice on the 
stage. It comes to both through practice. 
Though I am not dealing with stagecraft, 
there is connected with movement much of 
interest to the reciter and speaker, therefore a 
brief outline of general principles may not be 
out of place. 

We preserve the centre of gravity for our 
bodies by balancing on one foot or the other, 
or on both. It is sometimes material on which 
foot we obtain that balance, because it often 
governs the direction in which we are to face ; 
and we are supposed, as a rule, to appear 
to face the person with whom we are con- 
versing. When listening to an individual on 
our right (both half -turned to the audience), 
our balance should be on the left foot; in 
speaking to that person it would be on the 
right, or on that foot nearer to the individual 
addressed. If we were speaking to some one 



Movement 105 

on the left of the stage, from the right, our 
balance would be found on the left foot. In 
each of these cases, it would bring us, although 
standing sideways, "to the front," towards 
the audience, on whom we never turn our 
backs when speaking. The foot or leg on 
which a man obtains his balance I term the 
"engaged," the other, the "disengaged" 
foot. 

In a general way, a man should always en- 
deavour to mask the disengaged leg by means 
of that upon which he is balanced. Then he 
is unlikely to fall into the ungainly position 
described by two legs awkwardly apart. 

In pacing backward and forward across the 
footlights, as a speaker may be inclined to do, 
he should remember to pause on the right foot 
when pacing to the right, and on the left when 
moving left. This will bring him with his 
face to the audience; otherwise he will find 
himself addressing the blank wall at the rear 
of the stage. 

It is well to know how many steps he means 
to take on these occasions, also that three 
steps to the right necessitates commencing 
with the right foot ; four, with the left. 

Walking to the left, three steps, commence 
on the left ; four steps, on the right. 



106 Movement 

As one takes just the number of steps to 
balance the rhythm of the spoken phrase, it 
disturbs the flow of the text if one has to put 
in an extra stride in order to face the audience. 

To preserve easy balance and graceful 
carriage, there should be a slight swaying 
motion of the hips, not particularly noticeable 
to the casual observer, but sufficient for the 
student to feel and appreciate. The requisite 
amount will induce a pleasant consciousness 
of balance, and absolute control. This should 
also cause the draperies of women students to 
hang and move on artistic lines. 

It is not always effective to walk in a bee- 
line towards an object near which your 
"business" calls you, particularly when the 
shortest course would mean a straight line 
parallel with the footlights. The movement 
should be effected in a curved direction, thus : 



There are many reasons for so doing, but the 
following will suffice : 

i. The bee-line, save in some exceptional 
case, is not a graceful course, because 
cramped and angular. 

2. The curve assists the body to a poise 
presenting graceful outlines, particularly in 



Movement 107 

the case of a lady, when her train will not 
only better dispose itself, but gain artistic 
effect during the progress of the movement. 
The pleasant little tricks causing draperies 
to curl around the form are often assisted by 
curved movements, inducing willowy carriage 
of the body. In these, the hip and head play 
important parts. When the form is describ- 
ing a curve to the left, it should balance or 
rest on the right hip and foot, the left or dis- 
engaged foot be pointed outward to the left 
with the heel in and up, the toe out, conform- 
ing harmoniously with the general outline of 
the body. The head must also incline to the 
left and the upper portion of the body bend in 
the same direction. The contour of the fe- 
male form will then describe this poise: 

\ 



J 



The side inclination of the head must not 
be so extreme as to become angular, otherwise 
symmetrical outline will not be attained. The 
approximate inclination may be realised by 
first fixing the gaze, whilst the head is erect, 
on some object or point straight before one. 
The elevation of the head may be corrected by 
looking at a point either higher or lower, as 



108 Movement 

necessary in the case of being photographed. 
Then let the student slowly and gradually look 
to the left, inclining the head more and more 
as the eye moves, until the desired curve is 
reached. When this is accomplished, note 
the object exactly in range of comfortable 
vision. Return to the erect head, original 
point, and repeat the operation to test the 
accuracy of the gauge, and the poise may be 
then faithfully and promptly accomplished 
each time. If the distance from observation 
point to point is calculated and remembered, 
the same movement can be executed on any 
other part of the stage at which the student 
may find herself. Carrying the gaze from 
object to object assists graceful inclination of 
the head and body in curved movements. If 
a gesture is demanded, follow the progress of 
the moving hand with the eye, allowing the 
head to incline as the hand moves. For ex- 
ample: Suppose you are looking toward the 
right column of a proscenium, with your body 
turned in that direction, and you want to 
gesticulate towards some one on the opposite 
side of the stage, you would describe with 
your hand and arm this movement: 



^ 



t 



Movement 109 

It would be effected thus: Change balance 
from right to left foot as the hand starts; in- 
cline the body to the left and follow the mov- 
ing hand with the eye. Both will then travel 
from a point half-way up the right wall of the 
auditorium, across the room in the above 
curved line, and rest at a point left high over 
the corner of the gallery. Hand, body, and 
eye should all move in sympathy. Movement 
under these conditions resolves itself into 
an easy mechanical action infallible in its 
application. 

Executing right-about-face from the above 
starting point, in order to confront the char- 
acter on the opposite side of the stage, the 
hand and gaze would travel by the reverse 
course, thus: 



It should be remembered that when a 
speaker is supposed to look another straight 
in the face, he frequently must not do so for 
the reason that the first named would appear 
to be turning his back upon the audience, 
particularly if the positions were thus : 



no Movement 

In such cases, the speaker should direct his 
gaze across the stage at some point in front of 
the other person (more towards the audience). 
If the speaker incline his body slightly to- 
wards his colleague, in a listening attitude, 
it will often be sufficient ; the eyes may then 
rest almost anywhere, because the atti- 
tude of his figure will indicate the direction 
in which the remark is addressed. For the 
reason that an actor has to bring himself 
towards the audience, it happens that one 
character may seldom actually look another 
in the face. 

For the same consideration, an actor making 
an exit should hardly ever walk in a straight 
line to the handle of a door in the side flats. 
He should take the movement by a curve, 
which brings him face to the audience. 



KT 



Example: He should make for the hinge- 
jamb of the door, and before reaching it move 
in a curve up to the door-knob just far enough 
to allow him to stretch forth his hand to the 
knob with a free arm movement. 

Seldom approach a chair, for the purpose of 



Movement 1 1 1 

being seated, in a straight line. Proceed by a 
curve : 

Example : Place the finger-tips of the right 
hand on the nearest corner of the back of the 
chair ; walk the curve sufficiently far from the 
chair as will permit of the finger-tips resting 
on the back. Drop the hand when you have 
walked out of reach; continue the curve till 
your last right foot brings you in front of the 
chair. Keep your balance for a moment on 
the right foot ; draw your left quietly back to 
the left side of the chair. Change your bal- 
ance to the left foot. Then seat yourself by 
insinuating your frame into the chair with a 
gentle side-movement of body, and then sub- 
side, with right foot still extended in the 
original position; or, just draw that foot 
backward (keeping a straight leg) as the body 
comes to rest. 

In whichever direction you approach a 
chair, if possible, do so by a curve. 

Let almost every movement describe more 
or less a portion of a circle or loop, or a sug- 
gestion of one. 

Avoid angular lines! Remember, nature 
steers clear of them. 



ii2 Contraction of Vocal Muscles 



CONTRACTION OF VOCAL MUSCLES 

\ 70CAL sounds necessitate certain contrac- 
V tion of the muscles of the throat. This, 
however, is very slight, and does not amount 
to the tense expression which results in throaty- 
quality. It is not incompatible with a per- 
fectly free throat. The process is involuntary. 
Every one employs it, unconsciously, in most 
ordinary speech. When firm, staccato attack 
is desired this contraction is slightly increased, 
that is all. If the full breath be held in check 
and the note vehemently, but crisply struck, 
the operation is completed without thought 
of the method by which it is attained. This 
I term the " check-breath " attack, because 
the breath is held severely in check before 
sounding the note. If the tone is to be sus- 
tained after the clean attack, the flow of 
breath must be held in check in order that the 
power of the voice may remain uniform. By 
this form of attack we acquire a well-rounded 
resonant tone with the least expenditure of 
breath. The note at once derives carrying 
power, and if the voice is to be sustained the 



Contraction of Vocal Muscles 113 

pulsations are easily continued with an eco- 
nomical flow of wind — if the current be firmly 
under control. The main contraction of this 
attack takes place in the chest. In the throat, 
it is slight and momentary. 

The above is not applicable, however, to 
every mood. The voice must often be in- 
creased gently and insinuatingly. Then the 
note should be struck softly, almost imper- 
ceptibly, by a loose, soft breath, which gains 
force the longer it is maintained, but with 
little contraction of the throat. This I term 
"swift crescendo attack." A single note may 
be made to pulsate in this way without ac- 
quiring the metallic hardness of the check- 
breath voice. 



U4 Large Tongues 



LARGE TONGUES 

ABNORMALLY large, or ill-placed tongues 
obstruct the voice, because they lessen 
the depth of the sound-cavity — the mouth — 
by unduly elevating the tongue in the middle. 

To make the latter lie flat and assume a 
concave shape is the desideratum. This may 
be practised by pronouncing the word "thou." 
Look into the mirror and one may observe the 
position of the tongue this word gives. 

Another plan is to touch the lower teeth 
with the tip of the tongue, with mouth open, 
and then draw a full breath. Having touched 
the teeth thus, the tongue should be drawn 
backward, very slightly, and all thought of 
the unruly member abandoned. 

The mind should never dwell upon the 
tongue or throat, otherwise this consciousness 
will result in unnatural influences upon tone 
from either. 



Bad Voices 115 



BAD VOICES 

SOME vocal organs are better than others, 
of course ; but there are few so deficient 
as to be incapable of acquiring agreeable tone. 
On the other hand, many excellent voices 
sound disagreeable because they are so abomin- 
ably distorted by unnatural methods of pro- 
duction. There is a cure for nearly every 
vocal ailment — of that I am convinced. 
Many students (of singing, elocution, stage 
deportment, etc.) have come under my notice 
with faults innumerable, yet these shortcom- 
ings have been duly eradicated on the lines 
suggested in these pages. If a teacher be of 
sufficiently analytical mind he will detect the 
cause. Having discovered this, he may soon 
find the remedy. No person, however, can do 
this unless he understands the construction of 
vocal machinery. 

Illustrative of the importance of pitch I may 
mention the case of a graceful young actress 
who had hitherto played bright, juvenile 
parts with success. The time came when 
she must essay that of a mature, sentimental 



n6 Bad Voices 

character. Her voice had not been attuned 
to the requisite mood. It was too high, 
bright, and, I must admit, hard, for the sad, 
mellow lines. The voice had to be re- 
built. This was successfully effected on these 
lines: A lower pitch, sustained tones, with 
soft, fluty upward inflections, contrasting 
with deeper modulations of the more pas- 
sionate strength. The lower intervals pre- 
vailing imparted the requisite reminiscent 
shade of sadness; whilst occasional upward 
inflections not only gave the softer lights, 
but presented a singularly musical flexibility 
and symmetrical range. Thus a change of 
pitch was able to completely transform a 
hard, high monotonous voice into a respon- 
sive organ. 

Some such expedient is applicable to the 
piping voice of the speaker destitute of 
grateful modulations. 

Alternations of inflection preclude that 
regular repetition of intervals which creates 
monotonous delivery. Every modulation of 
voice should convey contrasting characteris- 
tics indicative of the emotional state of the 
mind by which the speaker is swayed. With- 
out such influences the best of voices will 
become flat and colourless. By the aid of 



Bad Voices 1 1 7 

appropriate modulations, an indifferent organ 
may acquire resonance and the flow of mu- 
sical progression. 

The shape of the mouth-opening governs 
the vocal mood. Round, condensed lips 
create round, compact tone. A large shape- 
less opening produces scattered tone. A long 
narrow aperture emits thin, but often bril- 
liant tone, and conveys a smiling impression. 
Depressed mouth corners, in oval or round 
shapes, induce pathetic utterance. Closed 
teeth lead to reedy, nasal qualities. Various 
breath-pressures influence the mood of reflec- 
tive mouth-positions. Pitch, likewise, affects 
emotional character. Wrong pronunciation 
may destroy the effects of appropriate facial 
and breath influences. It will thus be realised 
that upon the efficiency of the technique de- 
pends the quality of the voice. Employment 
of excessive wind results in harsh, breathy 
qualities; irregular flow, sensations destruc- 
tive of the rounded, compact note. We often 
encounter "sandy," "grating," or "fuzzy" 
tone. Sustained volume, at even power, and 
the compactness of a fixed mouth on the 
vowel sound, induce superior tone and the 
impression of ease and security. Clear enun- 
ciation heightens the attack and quality of 



n8 Bad Voices 

vowels, facilitates tone movement, and in- 
duces, instinctively, correct flow of breath. 
Attention to these details will improve the 
quality of the worst of voices. 



Reminders 119 



REMINDERS 

ANALYSE all sentences in order to dis- 
tinguish the relative importance of es- 
sential as compared with expletive words. 

The former demand emphasis or inflection. 
Their meaning cannot be conveyed without 
employment of the precise technique indica- 
tive of their sense. 

One word may convey many meanings. 
Seek to grasp the author's version of it. 

Expletive words require no emphasis. They 
are treated parenthetically. 

The voice, whether chest or falsetto, is 
purified by sustaining it at precisely the same 
strength (whether in loud or soft passages) on 
the vowel sounds. To thus sustain, equal 
flow of breath and muscular tension of the 
chest and muscles of the throat must be pre- 
served. The longer tone is held, the swifter 
should be the flow of breath to compensate for 
that waste of power which comes from gradu- 
ally diminishing wind in the lungs. 

To acquire a buoyant voice it is necessary 
to quicken the flow of breath. A speaker 



120 Reminders 

cannot sustain his tones in such a way as to 
suggest buoyancy without frequently employ- 
ing what is known in music as a crescendo. If 
the tone falter by uneven pressure of the 
breath, it gives the impression of an un- 
resourceful organ. Supported by slightly in- 
creasing wind-flow the voice appears to be 
endowed with fulness and pliability, which 
suggest easy, spontaneous delivery and un- 
limited vocal resource. This I term buoy- 
ancy. It illustrates the distinction between 
facile expression and crude vocal movement. 
Tones unsupported by this method are liable 
to "sag" or droop, and the utterance becomes 
tame and dispiriting. 

Accelerated breath does not necessarily in- 
volve rapid utterance. It does, however, 
enhance the purity and vitality of tone 
quality. 

Avoid the habit of "swallowing" the end of 
a word or sentence. This often occurs when 
the voice falls on a diminishing breath. 

Remember, that the voice demands stronger 
breath-pressure on a low than on a high 
key. 

The reposeful nature of deep tone is apt to 
lull the novice into indifference respecting 
breath support. 



Reminders 121 

Where a soft voice is demanded the flow of 
breath must be perfectly even, whatever the 
power employed. 

Fluctuations in the continuity of breath 
currents disturb the carrying force of the 
voice. 

Don't forget that loud tones travel quicker 
than the softer ones, and that the sudden, 
excessive vibrations of the former are apt to 
overtake and swamp the latter. 

Give words time to travel. 

In delivering a phrase or sentence do not 
increase the power of the voice abruptly, es- 
pecially if that increase has not been imme- 
diately preceded by a pause. 

A crescendo emphasis is generally pre- 
ferable to an explosive or percussion 
attack. 

The breath-pressure upon such consonants 
as "1," "m," and "n," often needs to be 
stronger than on open vowels. 

Such pressure must be regulated by the 
particular emotional quality the text de- 
mands. 

In dialogue, when taking up a cue from the 
last speaker, avoid the pitch just employed by 
that character, otherwise a monotony will 
ensue which renders it difficult for an audience 



122 Reminders 

to distinguish the speaker and intelligently 
follow the lines. 

As to order of study: 

i . Commence by acquiring ease of throat, 

tongue, and jaw. Let this be continued 

until you feel no parts. 

2 . Then it will be found easy to deal with 
the management of the breath. The false, 
upper control being removed, the true con- 
trol at the base of the lungs becomes first 
necessary, then easy. 

3. Proceed to pronunciation of the vow- 
els and enunciation of the consonants, tak- 
ing particular care to avoid the errors 
un-learned under 1 and 2. 

4. Emphasis and inflection may then be 
attempted along with gesture, etc. It will 
help the student to regard words as pos- 
sessing an inherent vitality and as if they 
were pictures of the ideas they represent. 
By long connection, idea and word are as- 
sociated, and clearness of words is of the 
greatest assistance to the mind of the 
hearer. 

5. The last and final direction, more im- 
portant than any, is: Having first become 
mechanically perfect in every detail, then 
forget all we have learned, concentrate upon 



Reminders 123 

our subject and our audience, and, above 
all, forget the speaker. This is true elocu- 
tion ; but those cannot forget who have never 
remembered. 



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